Contenido / Contents

10/17 Presentación
Introduction
12 Juan Pablo Gallo Maya 14
Alcalde de Pereira
Mayor of Pereira
Mariana Garcés Córdoba
Ministra de Cultura
Minister of Culture

18/29
Curatorial Thoughts
20 Palabras de apertura 24 Lineamientos conceptuales
Opening Words Conceptual Guidelines

30/175 AÚN: componente exhibitivo

AÚN: exhibition component
40 Fredy Alzate 80 Andres Felipe Gallo
42 Débora Arango 82 Ethel Gilmour
44 Adriana Arenas 84 Beatriz González
46 Gonzalo Ariza 86 Matilde Guerrero
48 Alicia Barney 88 Nicolás Guillén
50 Carlos Bonil 90 Juan Fernando Herrán
52 Milena Bonilla y 92 Leonardo Herrera
Luisa Ungar 94 Amadou Keita
54 María Buenaventura 96 La Decanatura
56 Calipso Press 98 LaMutante
58 James Campo 100 Paulo Licona
60 Antonio Caro 102 Colectivo Maski
62 Carolina Caycedo 104 Colectivo Miraje
64 Gustavo Ciríaco 106 Rabih Mroué
66 Fredy Clavijo 108 Ricardo Muñoz Izquierdo
68 Alberto De Michele 110 Román Navas y Henry Palacio
70 Wilson Díaz 112 Juan Obando
72 114 Mario Opazo
74 Herlyng Ferla 116 Grupo Otún
76 Stephen Ferry 118 Prabhakar Pachpute
78 Óscar Figueroa 120 Fabio Melecio Palacios
 122 Jorge Panchoaga 152 Chulayarnnon Siriphol
124 Juan Peláez 154 Maria Taniguchi
126 Linda Pongutá 156 Gustavo Toro
128 Gala Porras-Kim 158 Ivan Tovar
130 Ernesto Restrepo Morillo 160 Andrés Felipe Uribe
132 Félix Restrepo 162 Liliana Vélez
134 Luis Roldán 164 Apichatpong Weerasethakul
136 María Isabel Rueda 166 Ming Wong
138 Jesús Ruiz Durand 168 www.Interferencia-co.net
140 Edwin Sánchez 170 Sonnia Yépez
142 Vanessa Sandoval 172 Tatyana Zambrano y
144 Moe Satt Roberto Ochoa
146 Andreas Siekmann 174 Sergio Zevallos
148 Jeison Sierra
150 Eusebio Siosi

176/243 Curadurías invitadas

Guest exhibits
Proyectos y proyecciones con mis
178/189 antepasados
Projects and Projections with
my Ancestors
186 Álvaro Herazo y Alfonso Suárez

Todo lo que tengo lo llevo conmigo

190/207 All That I Have I Carry With Me
196 Juliana Góngora 202 Óscar Moreno
198 María Teresa Hincapié 204 Gabriela Pinilla
200 Catalina Jaramillo 206 Luis Roldán

208/243 The Phylogenesis of Possession

220 Elena Bajo 232 Ana María Millán
222 Alicia Barney Caldas 234 Warren Neidich
224 Silvie Boutiq 236 Claudia Patricia Sarria Macías
226 Lou Cantor 238 Jeremy Shaw
228 Corazón del Sol 240 Jim Shaw
230 Wilson Díaz 242 Eider Yangana
244/279 Aún desde una
perspectiva editorial
AÚN, from a publishing
perspective
252 Cólera 266 Notas de estudio
Anger Study Notes

254 Coprófago Paradise 268 Rocío en formación

Coprophagous Paradise Dew in Formation

256 El Fuete 270 Tú y yo

The Whip You and Me

258 Ensayo # 1 272 Un libro sobre la dignidad

Essay #1 A Book About Dignity

260 José Martí la berenjena 274 Un Pacto con el diablo

sublime y el sórdido pendejo A Pact with the Devil
José Martí, the Sublime
276 Vine, vi y me vendí
Eggplant and the Sordid Idiot
I Came, I Saw, I Sold Myself
262 La oquedad de los Brocca
278 5-5
The Emptiness of the Broccas

264 Movimiento hacia la Izquierda

Movement Towards the Left
280/307 El Salón: un territorio en disputa
The Salon: a Contested Territory
282 296 Territorio y performatividad
cuestionar desde la periferia Territory and performativity
Éricka Flórez
question from the periphery
Úrsula Ochoa

308/315 Componente de formación

Educational Component

316/369 Biografías
Biographies
318 Artistas
Artists

356 Componente editorial

Editorial component

362 Seminario Psicotropismos

Psychotropisms Seminar

364 Equipo curatorial

Curatorial Team

366 Curadores Invitados

Guest Curators
Presentación
Introduction
Juan Pablo Gallo Maya
Alcalde de Pereira

Después de haber sometido a consideración varias ciudades, Pereira logró ser la sede
del 44 Salón Nacional de Artistas, el programa estatal de apoyo al arte contemporáneo

Esta iniciativa del Ministerio de Cultura ha sido apoyada por nuestra Alcaldía a través del

permiten transformar el pensamiento crítico y la sensibilidad frente al arte.

La capital del Eje Cafetero, engalanada con lo más excelso del arte local, nacional e

actividades del Salón, después de dos meses, todos se llevarán la mejor de las impresio-

amor por la cultura.

cultural se construye de manera colectiva y sostenida en el tiempo.

Somos Paisaje Cultural Cafetero, patrimonio de la humanidad, y este evento mostrará

Convivir con artistas de diferentes regiones y países, visitar exposiciones, ver sus acciones,
participar en seminarios académicos, compartir la cotidianidad y la diversidad de una

haremos posible un Salón Nacional de Artistas mágico e inolvidable.

Juan Pablo Gallo Maya
Mayor of Pereira

After having considered other cities like, Pereira became the host of the 44th National
Salon of Artists, the country’s best-known state program supporting contemporary art. To
be awarded the honor of holding the 44th version of an event that dates back more than

the Municipal Institute for Culture and the Promotion of Tourism, as we acknowledge that
events like this work to transform critical thought and sensitivity to art.

Pereira, the capital of the Eje Cafetero [Coffee Axis] of Colombia, is now being adorned by
the most outstanding examples of local, national, and international art, and is ready to
receive the great number of visitors the Salon will attract, who will discover a city which is
a motive of pride for everyone. We are sure that by the time the two months of activities
associated with the event are over, all of them will carry away a great impression of the
city. The pleasant memories which the friendliness and generosity of the people of Pereira
always leave in its visitors means that the name of the city will transcend borders and
transmit a message of peace and love for culture.

The National Salon of Artists will enable us to strengthen our installed capacity of cultural
infrastructure and, more importantly, will allow us to learn more, because the knowledge
of culture is built up in a collective manner and sustained over time.

We are Paisaje Cultural Cafetero [Coffee Cultural Landscape], a UNESCO World Heritage
Site, and this event will show our coffee culture to the world, along with its architecture,

and friendly nature of its people.

Living alongside artists from different regions and countries, visiting the exhibitions,
seeing the different events which take place, participating in academic seminars, and
sharing the daily life and diversity of a city which grows day by day will be an experience
of peaceful coexistence in this moment when everyone in Colombia is longing for peace.
Pereira is ready, and with everyone’s help, we will ensure that this version of the National
Salon of Artists will be magical and unforgettable.

12 / 13
Mariana Garcés Córdoba
Ministra de Cultura

En 1940, el Ministro de Educación Jorge Eliécer Gaitán inauguró el Primer Salón Anual de
Artistas en Colombia. Hoy, 76 años más tarde, el Salón Nacional de Artistas se ha con-
vertido en el programa estatal de mayor impacto para el fomento de la investigación, la
creación y la circulación del arte contemporáneo.

Dar cuenta ante el público de la creación y del pensamiento artístico actual, a nivel nacio-

cuenta con más de siete décadas de existencia, ha logrado renovarse, manteniéndose

versiones recientes, de su relación con el arte internacional.

Esta versión 44 del Salón Nacional lleva por título AÚN —

en transición— y
curatorial conformado por Víctor Albarracín, Inti Guerrero y Guillermo Vanegas. La visión

históricas, económicas, sociales y culturales.

AÚN -

producción de hoy, obras de artistas y de colectivos artísticos nacionales e internaciona-

les, prácticas de estudio y procesos colaborativos, espacios expositivos tradicionales y
escenarios no convencionales.

Esta es una puesta en escena de maneras interdisciplinarias de hacer, pensar y circular

en cada uno de los tres componentes del Salón —el expositivo, el proyecto editorial y el

como curadores, editores, formadores y generadores de procesos culturales. Del gran

transformador de la creación y de la colaboración entre artistas y comunidades renueva

las posibilidades del arte y de las prácticas culturales.
Mariana Garcés Córdoba
Minister of Culture

In 1940, the then Minister of Education, Jorge Eliécer Gaitán, inaugurated the First Annual
Salon of Colombian Artists. Now, 76 years later, the National Salon of Artists has become
the State program with the biggest impact for the promotion of research, creation, and
dissemination of contemporary art in the country.

Making the public aware of the thinking and creation of current art at a national and
international level is the National Salons’ reason for being. Ever since the introduction
of thematically curated Salons in the year 2000, each team has projected its own vision
of contemporary art which responds both to previous versions of the event and its own

boasts of more than seven decades of existence, has continually renewed itself and
managed to maintain its position as a vital stimulus for new conversations about the
artistic life of Colombia and, in recent editions, its relation with international art.

The title of this 44th edition of the National Salon is “AÚN”, meaning “yet”, “still” or “so far”,
which indicates a period of transition, an approach proposed by a curatorial team under
the artistic direction of Rosa Ángel and made up of Víctor Albarracín, Inti Guerrero and
Guillermo Vanegas. It is a vision inspired by local conditions —the Paisaje Cultural Cafetero
[Coffee Cultural Landscape]— that seeks to broadly approach notions of territory and its

AÚN explores the hybrid and changing nature of art by presenting a complex panorama
in which historic legacies converge with the dynamic processes of contemporary art. It
features works by Colombian and foreign individuals and collectives, art created in studios
and by collaborative practices, and the use of both traditional and non-conventional
exhibition spaces.

It amounts to a forum for interdisciplinary ways of making, thinking about, and circulating
art. The variety of formats in which artists work nowadays is evident in each of the three
modules of the Salon: exhibition, editorial, and education. The participating artists are
represented here not only with their works, but also as curators, writers, teachers and
promoters of cultural processes. A complex space emerges out of the grand territory
of art constructed by this Salon, one where the transformative power of creativity and
collaborations between artists and communities renew the possibilities of art and
cultural practices.

14 / 15
La Alcaldía de Pereira, a través del Instituto Municipal de Cultura y Fomento al Turismo,

en su historia, en la ciudad de Pereira.

El ritmo acelerado de los cambios tecnológicos y sociales, en esta era de internet, interco-

reconocidos, pero no por ello menos vitales. Con la presencia de artistas, curadores,
investigadores, críticos, gestores culturales, medios de comunicación nacionales e inter-
of Culture, and in alliance with the Pereira Chamber of Commerce, have worked with the

caused the whole world to be interconnected. The great centers of art are complemented
by nodes which may not be as well-known but are vital nevertheless. With the presence of
artists, curators, researchers, critics, cultural promoters, and national and international

cultural landscape, Pereira has become a new reference point that expands and enriches
the current artistic cartography of Colombia.

16 / 17
18 / 18
Curatorial Thoughts
Palabras de apertura

por comprender la lógica del trabajo institucional, de enfrentarse

El Salón Nacional de Artistas es una institución de larga tradición

a las necesidades de coyunturas históricas puntuales, a deseos

muy diversos de decir cosas. Históricamente, el Salón ha sido una
plataforma para la promoción del arte colombiano y hoy podemos

muchos otros espacios, a nivel local, nacional e internacional.

entender la producción artística contemporánea.

proyectándose más allá de nuestras fronteras; hemos visto cómo

las instituciones públicas a nivel nacional y regional han enten-

cultural, son fundamentales.

y una comprensión institucional sobre la importancia de todas

las formas artísticas en el país. También hemos visto cómo los
procesos de construcción de comunidades y escenas de artistas
en distintas ciudades se han fortalecido y han propiciado el sur-
gimiento de espacios, publicaciones, colectivos y foros públicos
Opening Words

The opening of this Salon marks the end of a two-year-long

process full of learning experiences, where we had the privilege

parts of this country that we didn’t even know existed. For the
past two years, we have worked hard to comprehend the logic of
institutional work, to face adversity, and to understand that this

The National Salon of Artists is an institution with a long tradition

in Colombian history, an institution that has been changing, one
that has transformed in each of its iterations to adapt to the
needs of its historic context, and to include very diverse forms
of expression. Historically, the Salon has been a platform for the

that, thanks to the Salon, Colombian art has reached many other
spaces at the local, national, and international level. Colombia is
now an essential destination for anyone who wants to understand
contemporary art production.

even beyond our borders; we have seen how national and regional
public institutions have come to understand that the promotion
and support of culture, and of cultural production, is fundamental.

We have seen the creation of grants, supports, incentives, and

interest and an institutional understanding of the importance

of all forms of artistic expression in the country. We have also
seen the growth of artistic communities and venues in different
cities that have fostered the emergence of spaces, publications,
collectives, and public forums of discussion. Because of that, we

than a platform for promotion, or a thermometer to determine

20 / 21
 -

el arte nacional. Hoy, el Salón puede y debe ser otra cosa.

En este momento, el Salón se ocupa de pensar y entender proble-

formas nuevas de producción, de asociación y de integración con

el contexto y con la historia. Este Salón no es más un podio para
separar a los vencedores de los vencidos, sino un espacio abierto y
-

vías y procesos alternos para presentar su trabajo como una forma

cuando son entendidas e incorporadas por las instituciones, las

acercan a las necesidades, los deseos y las preocupaciones de
las comunidades de creadores de arte y de sus audiencias.

Este Salón es, entonces, un espacio para pensar hoy el territorio,

arraigados, jóvenes y viejos de distintos lugares para discutir, no ya

el Salón irradia y emana pensamiento.

scene. Today, the Salon can and should be something different.

Currently, the Salon is devoted to considering and understanding

problems, to creating connections, to combining disciplines, to
experimenting with new forms of production, association, and
integration with context and history. This Salon is no longer a
podium to differentiate the victorious and the defeated, but an
open space in which one can participate through agreement,
criticism, and even opposition from those who choose alternative
ways of presenting their work to respond to what the Salon
implies as an institution. These outsiders show that there
are other ways of creating art that, when comprehended and
incorporated by institutions, bring the needs, desires, and
preoccupations of artistic communities closer to their audiences.

This Salon is now a space that allows us to think about

this territory. It is a place where ideas intersect like
crossroads and bring together natives and outsiders,
travelers and residents, young and old from different
places to discuss not only the Salon, but this physical and
spiritual soil in which the Salon radiates thought.

22 / 23
Lineamientos conceptuales

Aún podemos decir: “este país existe”, “se puede hacer esto o
-

aún

ejercicio de libertad sin promesa. El aún constata la persistencia

del ser, revela caminos y delata la acción y la presencia. Sin un
hacia

Aún existe el Salón Nacional de Artistas, aun después de inconta-

bles transformaciones, críticas y revisiones. O, más bien, gracias
a ellas. Existe como un territorio histórico cambiante, y la persis-
tencia de su carácter provisional ha permitido el desarrollo de una

Alojado en el seno del Paisaje Cultural Cafetero, el Salón

-
sente. Sobre un terreno inestable, donde el país ha visto pros-
perar buena parte de su historia económica y social, el Salón se

-
rios y paisajes, la propuesta de Aún es pensarse como una posi-

de recursos para abrir caminos y espacios comunicantes entre

tectónicas en constante proceso de reajuste.

Conceptual Guidelines

We can still say: “This country exists,” “We can do this or that,”
“Things are going well or badly.” The importance of these state-
ments lies not in what they say, but in the fact that they can
continue to be said. The fact that they can still be said. “Still,”
is continually on the verge of possibility or under threat, and
demands of the present an exercise of freedom without promises.
“Still” is a testimony to the persistence of being and reveals path-
ways, makes visible action and presence. “Still,” advances devoid
-
ress, without ever reaching it.

The National Salon of Artists “still” exists, despite countless trans-

formations, criticisms, and revisions, or rather because of them. It
exists as a changing historical territory, and its persistent nature
has allowed a structure to develop and, in good measure, to sus-
tain the history of what we call “Colombian art.”

Enveloped by Colombia’s Coffee Cultural Landscape, the National

Salon of Artists still stands as an exercise in constructing the
present. On shaky ground, where much of the country’s economic
and social history has thrived, the 44th Salon digs deep into
the fermentation, forces, layers, and spectra that have worked
together to construct both the nation and its different visions,
telling us every moment that we’re still here, that we’re still
together, and that we can still create, in order to remain.

-
tories and landscapes, Still/Yet proposes itself as a possibility,
however provisional, of autonomy; as a collection of resources
designed to open lines of communication and spaces between
the different worlds that make up Colombia and that we could

constant adjustment.

24 / 25
Este 44 Salón Nacional de Artistas pone los pies en la tierra a

este escenario de posibilidad. Estas son las líneas generales de

Aún

debates, reiteraciones y percepciones. Un observatorio con pers-

de procesos colectivos. Un lente sobre las realidades cotidianas

los accidentes, fallas y ondulaciones de un suelo constantemente

un país donde risa y temblor se confunden. Un plantar bandera,

La teoría estética plantea la autonomía como una de las condi-

ciones propias del arte: se nos habla del desinterés estético, del
artista como creador de mundos, de la soberanía del sistema del

son manifestaciones de ese reclamo por un arte sin anclajes ni

casta por venir: el precariado, nunca trabajador formal y nunca

simple desempleado, no productor de espectáculos ligeros y no

de subsidios, de residencias artísticas o de becas de producción,

cuando no de un mercado caprichoso o de su capacidad de trans-
formarse a sí mismo en empresario. El artista hoy, sin públicos

espectro de la actividad humana. El artista como un laboratorio

a la adversidad. En esas condiciones, la pretensión de autonomía

vías de escape, espacios de soberanía transitoria, montajes y des-

montajes hacia otros mundos posibles. Hablamos entonces de una
-

La trocha como método

abre a machete. Ante la soledad, la mula, la fonda, la canción.

La trocha no es autopista, es camino de contrabandistas, de

preguntamos dónde estamos y de dónde venimos, por dónde

The 44th National Salon of Artists is rooted in expectations still rife
with possibility. But action, stories, and dialogue are needed to
preserve this venue of possibilities. The following are the general
ideas of the curatorial research and the crisscrossed methodolo-

Territories Under Construction

Still/Yet is conceived both as a temporary event and a territory.
It is a platform where goals, disagreements, debate, reiterations,
-
cratic phenomena. A cartography of collective processes. A lens
focused on the everyday realities that create social landscapes. A
vantage point from which to understand the features, faults and
undulations of a constantly changing ground, subject to endless
aesthetic, ethical and political tensions, in a country where a

barn-raising, a joining with others, here, now.

Temporary Autonomy
Aesthetic theory considers autonomy one of the conditions of
art: we hear about aesthetic disinterestedness, about the artist
as a creator of worlds, about the sovereignty of the system of
art, and even about “every man being an artist.” These are all
manifestations of a clamor for art without anchors or ties. In
practice, artists are the spearhead of an upcoming caste: the
precariat, never formally employed yet not simply unemployed,
neither producer of light entertainment nor voice of reason, not

the world. Artists today depend on subsidies, scholarships, res-

ability to turn themselves into entrepreneurs. Artists today have

Artists lack the art that everyone thought they understood. We

are talking now about artists that speak in tongues, saying, “Trust
me.” Artists that inhabit the gray area in the spectrum of human

of dependence and of resistance to adversity. Under these circum-

stances, any attempt at autonomy buckles under the artist’s own
fragility, generating escape routes, spaces of temporary sover-
eignty, assemblies and disassemblies into other possible worlds.
We speak then of a provisional autonomy, charged with signs and

kingdoms without king or law.

The Trail as Method

When faced with the jungle, the trail. When faced with the impreg-
nable, a machete-cleared path. When faced with solitude, the
mule, the inn, the song. The trail is no motorway; it’s the path trod
by smugglers, thieves, and explorers. The trail responds when we
ask where we are, where we’re from, where we’re passing through,

26 / 27
vamos pasando y hacia dónde estamos yendo. Estas preguntas

posesión y de posicionarnos, se nos cuenta, eran el punto de

Ubi, Quo, Unde, Qua.
Odos– y
es también, de alguna manera, un primer método: abrir paso,

el cruce fortuito con otros senderos.

Contaminaciones
A partir de la Constitución de 1991, el país entendió la necesidad

interesarse por ese crisol de culturas, manifestaciones y prácticas

Del mismo modo, las disciplinas de las ciencias sociales se mostra-

en la complejidad de sus accidentes, mutaciones, transiciones y

de partículas elementales nos impulsan a construir saberes

mutación de formas discursivas son necesarias para hacer frente

de contaminación del territorio, estas sí nefastas, bajo el discurso

del esencialismo, del retorno al origen y de la producción desen-
of the spaces we travel through before taking possession and
positioning ourselves, we are told, were the starting point for the
ancient teaching of Latin: Ubi, Quo, Unde, Qua. The trail is culture,
it is the way —Odos in Greek— and it is also, in a way, an initial
method: a clearing of obstacles, a connecting of separate points,
trusting one’s step and the fortuitous crossing of other trails.

Contaminations
After the drafting of Colombia’s Constitution in 1991, the country

began to focus on this melting pot of cultures, manifestations,

and practices weaving together the unstable and pulsating ter-
ritory that is Colombia. But the social sciences were incapable of
generating complex synergies of joint reality, and they had to be

allow us to understand the world; a multiple, impure world with a

complexity of accidents, mutations, transitions, and adaptations.
-
ticles compel us to build new kinds of knowledge and to identify
their problems. Contamination in the search, leaking of informa-
tion, and mutation of discursive forms are needed to deal with the
usurpation of territory by forces operating new and deadly forms
of contamination under the discourse of essentialism, of a return
to the origin, and of the insatiable production of what is referred
to as “wealth.”

28 / 29
AÚN: exhibition component

Comunal del Barrio Zea y el espacio público de la ciudad.

The artists selected by the curatorial team were featured in the

Museo de Arte de Pereira, Former Club Rialto Building, the Social
Hall of the Zea neighborhood and in the city’s public space.
Queremos hablar con usted. Somos una
está sobre usted vigilándolo, sino más
bien el conjunto de voces, de discusiones,
dieron forma a este acontecimiento. Ya
no tenemos nombres propios, solo una
existencia confusa y usted, al leer este
escrito, se vuelve parte de ese “nosotros”,
como aliado y contradictor.
para convertirse en el espacio entre
- carro o en bicicleta. Encontrará casitas,
o va a encontrar en este lugar, pueda
extrañamiento al recorrer el espacio.
Este conjunto de obras viene de muchos
existir, para procesarse, descomponer-
se y, con suerte, volver a la tierra. Está
Este Salón se titula Aún, y cuando
uno dice “aún” está hablando de algo
ocurrido. Cuando decimos “aún”, estamos
hablando del presente, pero no de un
ser y no ser, entre estar y desaparecer.
Aún, entonces, es un espacio de duda y
cuestionamiento, y por eso es importante
tierra, de ladrillos, de troncos. Encontrará
de gente moviéndose a pie, en trenes, en
mapas para preservar sus recuerdos. La
y nosotros hacemos: intentar habitar el
presente, luchar por abrir caminos para
ir en busca de algo, resistir los embates
presente digno para todos en nombre del
privilegio de unos pocos.
El arte puede ser muchas cosas. Una
espacio para compartir un misterio, una
We would like to speak to you. We are a
voice, not the voice of God or of someone
keeping an eye on you, but rather a group
spots which gave shape to this happening.
We no longer have individual names, only
a confused existence, and you, as you read
this piece of writing, may become part of
that “we,” as an ally and adversary.
We are a “we” which speaks through the
mouth of something which has lost its
mind and turned into the space between
people and things that, in one way or
- ing on foot, trains, cars or bicycles. You will
stand that amid all your feelings of anger
and sadness or gratitude or repulsion
towards what you have found or are going
a slight sense of alienation that will rise
in you as you wander through this place.
These works of art come from many dif-
ferent parts of the world, with the aim of
forming part of something that needs you
to exist, to be processed and broken down,
so that, with luck, it may return to the earth.
It’s alright if you are confused, alright if you
feel out of place, that you don’t understand.
There is something important about art
doubting than in the understanding.
The name of this Salon is “Aún” [yet/ still]
and when you use that word you are speak-
ing of something provisional, of something
that may not continue or may not have
happened yet. When we say “aún,” we are
present, not something which can be guar-
anteed or carved in stone, but something
which throbs with the tension of being and
not being, of being and disappearing. Aún
-
ing and for that reason it is important that
that speak of movements, of people travel-
You will see people crossing borders
to save their lives and tracing maps to
conserve their memories. The reason for
putting these works together here is simple,
since it is a matter of gestures which, in
all do: try to live in the present, struggle to
open paths to search for something, resist
the onslaught of those who block the pos-
name of the privileges of the few.
Art may be many things. One of the things
which it may still be is a place where
people can share a mystery, a way of sum-
moning a person who is not here, which
unites our differences, which clamors for
adversaries and not enemies, which cre-
ates structures to help us understand that
32 / 33
nuestro espacio es también de otros, nuestra realidad histórica se opone la

-
transformación. El arte está a medio taciones sociales planas, excluyentes e
camino entre sus dudas, las nuestras y indiferentes. Pero la emergencia de esa
las de los demás. realidad se debe abonar como una tierra

Vivimos en un país donde una realidad

aplastante no ha dejado espacio para
tomar distancia e imaginar otra cosa.
pastorean electores y televidentes.

Frente a una historia del poder, hay

distanciarse un poco de sus propias un poder hacer historia e historias,
y en esa historia, en las historias
puede construirse de un modo distinto. de cómo estamos haciendo historia,
our space is also that of others, that such a
space is constantly being transformed and
that we are the architects of that transfor-
mation. Art is halfway between your doubts,
our doubts, and those of others.
We live in a country where an oppressive
reality has not left us room to take a step
back and imagine something else. Today, it
seems, we stand before the convergence of
antagonistic wills which have managed to
distance themselves a little from their own
certainties to understand that reality may
be constructed in a different manner.
We would like to tell you that nothing is
historical reality is opposed to the possibil-
the cracks of one-sided, discriminatory,
and indifferent social representations.
But the emergence of that reality must
not to the few, to the same old people, to
those who put up fences to stop others
from walking through it, to those who
and TV viewers.
In the face of a history of power, there is
a power to make history and tell stories,
and in that history, in those stories of how
-
selves here.
34 / 35
36 / 37
38 / 39
Fredy Alzate

Las obras más recientes de Fredy

relations between the materials that con-
stitute his objects and the environments
los entornos donde se ponen en escena. where they are installed. In Vacuous, the
En Vacuus, la work featured in this Salon, he reveals his
en este Salón, revela su interpretación interpretation of the visual crossroads
particular del cruce visual impuesto por formed by the diverse ways of living
that arise in areas where an extractive
economy is the principal factor of territo-
extractiva es el principal factor de degra- rial degradation.
dación del territorio.

- effects of mineral exploitation in Antio-

gación acerca de los efectos de la explo-
- and environment. He visited part of the
cia sobre ese terreno f ísico y ese paisaje: territory dominated by the uncontrolled
visitó parte de los territorios dominados exploitation of land to create, in his words,
por la explotación descontrolada de la “a collection of openings [that] seek to
establish a paradox about the exuberance
of the Andean landscape and our country’s
instaurar una paradoja sobre la exube- famed riches.”
rancia del paisaje andino y las nombra-

noted that the varied and abundant per-

Atendiendo a su propia metodología, forations that he found not only make
- for a fragile setting for over-exploitation,
- but also represent a network of legal and
do no solo delimitaban un entorno frágil institutional dysfunctions. In Colombia, the
- economic use of land has perhaps been the
sentaban incluso una red de disfuncio- primordial constant of its extensive civil
nalidad legal e institucional. En Colombia, war. The artist is familiar with this problem
and works with it, understanding its eth-
la constante primordial de su extensa nographic and even mystical elements. The
guerra civil. El artista conoce esta proble- alteration of the earth becomes a meta-
phor for the imbalance between the needs
ese fenómeno tiene componentes etno- of the communities that undertake this
exploitation, their economic interests, the
del territorio se convierte en la metáfora search for their well-being, and what the
earth can withstand.

explotación, sus aspiraciones económicas

realidad puede resistir la tierra.

Vacuus · 2016 · Instalación · Dimensiones Vacuous · 2016 · Installation · Dimensions
variables · 2.3 x 3.75 x 2.25 m Variable · 2.3 x 3.75 x 2.25 m

40 / 41
Débora Arango
Las dos obras de la pintora Débora
Arango incluidas en el Salón muestran su
interés por dejar un testimonio de reali-
- her time. Montañas [Mountains], a water-
micas. Montañas, una pintura donde el
cuerpo femenino se relaciona con la tie-
rra y el territorio, revela la pulsión expe-
rimental por romper los límites y las con-
venciones en torno a la representación.
exposición individual de Arango en
Eliécer Gaitán, entonces ministro de
Educación. La muestra solo se mantuvo
abierta un día antes de ser censurada
una mujer pintando a otra era, para los
críticos, signo de perturbación moral,
la reacción ante el fuerte cuestionamien-
to a la mirada masculina —la del pintor
iconograf ía femenina.
La segunda pintura, El Tren de la muerte
inspiró (el hacinamiento de más de 700
presos liberales transportados en tren
Medellín), para referirse tanto a la masa-
cre de las bananeras sucedida en Ciénaga
donde el ferrocarril cumplía un rol clave.
Ambas pinturas demuestran cómo
resulta pertinente aún hoy, cuando el
conservadurismo en torno al género y la
sexualidad sigue vigente.
The two paintings by Débora Arango
included in the Salon show her interest in
testifying about controversial realities of
color in which the feminine body relates
to the earth and the landscape, reveals an
experimental drive to break the limits and
conventions of representation.
1940 by Jorge Eliécer Gaitán, then Minister
of Education. The show only lasted one day
and was closed under pressure of the
who called the paintings “pornographic.”
The fact that Montaña shows a woman
painting another woman naked was, for her
critics, a sign of moral perversion, although
today we can understand the indignation
which was the only one allowed to create
feminine iconography.
The second painting, El Tren de la muerte
[The Train of Death] (circa1948) goes
beyond the news item that inspired it (the
packing of more than 700 liberal prisoners
to Medellín), to allude both to the massacre
of the banana workers in Ciénaga in 1928
-
tration camps, in which the railroad played
a key role.
Both paintings show how Arango developed
a powerful language that confronted her
own time, an effort that remains relevant
today, when both general and sexual con-
servatism continue to be prevailing forces.

1. El tren de la muerte · Sin fecha (ca. 1948)
Acuarela · 56 x 77 cm · Colección Museo de
Arte Moderno de Medellín
2. Montañas · 1940 · Acuarela · 123.8 x
153.5 x 5 cm. · Colección del Museo de Arte
Moderno de Medellín.
1.
2.
1. The Train of Death · Undated (ca. 1948)
Watercolor · 56 x 77 cm · From the collection
of the Museo de Arte Moderno de Medellín
2. Mountains · 1940 · Watercolor · 123.8 x
153.5 x 5 cm. · From the collection of the
Museo de Arte Moderno de Medellín.
42 / 43
Adriana Arenas
En la última década, la democracia ha
sido cuestionada por manifestaciones de
desobediencia civil y activismo en la calle.
Movimientos como Occupy Wall Street,
- -
raron en el golpe corporativo al Partido
de los Trabajadores—, la resistencia de
Hong Kong ante la manipulación de China
en las urnas, o la de Ucrania ante la
un colapso casi mundial de los sistemas
democráticos. Pero la crisis actual del
sistema también se hace evidente en los
resultados de los plebiscitos del Brexit y
generados, en gran medida, por la mani-
pulación de prejuicios morales, el odio y
las fobias sociales.
En su instalación in situ, Arenas constru-
ye un lugar cuasi social. Su obra insinúa
en donde alguien está inventando la
Universal Voting App, una herramienta
- complex interaction between the State,
miento de la democracia, resaltando la
compleja interacción entre Estado, ideal
democrático y corporaciones. La ambien-
el decorado interior original del antiguo
- Mad
tativo del estilo internacional de los años
50—, y en las escenograf ías de Mad Men,
-
nes de la industria de la publicidad como
democracias capitalistas, describiendo
a la perfección el mundo corporativo
y desarrollista donde aún vivimos.
In the last decade, democracy has been
of civil disobedience and activism in the
streets. Movements such as Occupy Wall
berated in the corporate coup against the
Workers’ Party—, the resistance in Hong
Kong against China’s ballot manipulation,
or that of Ukraine against Russian aggres-
sion, all demonstrate that we live in an
almost worldwide collapse of democratic
systems. But the actual crisis of the system
has also become evident in the results of
the plebiscites on Brexit and the Colom-
bian peace accords, resulting in large part
from the manipulation of moral prejudices,
hatred, and social phobias.
In her in situ installation, Arenas has
somebody has invented the “Universal
Voting App,” a utopian tool offered for the
betterment of democracy, highlighting the
the democratic ideal, and corporations.
by the original decoration of the old Club
Rialto de Pereira —a building that is repre-
sentative of the international style of the
Men, a television series that celebrates
the origins of the advertising industry as a
democracies, describing perfectly the cor-
porate and development-oriented world in
which we still live.
Universal Voting App · 2016 · Instalación Universal Voting App · 2016 · Installation
Dimensiones variables · 2.8 x 5.9 x 7.4 m. Dimensions Variable · 2.8 x 5.9 x 7.4 m.

44 / 45
Gonzalo Ariza
diálogo los hechos estéticos contem-
poráneos con referentes históricos del
arte nacional permite, entre otras cosas,
forma al desarrollo problemático de la
historia, en muchos casos llena de rever-
sos o saltos desesperados al porvenir.
En este sentido, las pinturas del artista
- from the land and the passage of time.
sí. Ambas obras, El Amanecer y La Noche,
parten del gesto atento y contemplativo
intenciones de modernidad de su tiempo
y de sus contemporáneos vanguardistas.
formado en la tradición de una sociedad
milenaria como la japonesa, ejercitada
en la antigua práctica del mirar; de este
modo, las particulares vistas aéreas de
indeterminación entre los cuerpos monta-
La presencia de este artista en medio
de las construcciones de relatos de
convertirse en grandes obras de arte.
Putting contemporary aesthetic activities
in dialogue with historic works of Colom-
bian art allows, among other things, for an
observation of the anachronistic nature
of the ideas and preoccupations that
illustrate the problematic development of
history, in many cases full of reversals and
desperate leaps into the future.
tell us that landscape still exists. They are
here to say that there is still somebody to
observe and to steal something for himself
Both works, El Amanecer [Sunrise] and La
Noche [Night], emerge from the attentive
and contemplative gestures of an artist
who distanced himself from the modern
ideals of his period and his avant-garde
trained in the thousand-year-old traditions
of Japanese society, experienced in the
ancient practice of seeing. The aerial views
of his landscapes achieve a pure represen-
tation of the mist and undetermined space
between the mountainous bodies that offer
themselves so generously.
The presence of so many examinations of
national narratives signals that some
landscapes that threaten sensibilities and
manage to become great works of art.

1. Amanecer (la cordillera desde El Colegio)
1960 · Óleo sobre tela · 70 x 149.5 cm.
Cortesía de Museo Nacional de Colombia
2. La noche (región de La Mesa) · 1960
Óleo sobre tela · 70.5 x 150 cm. · Cortesía de
Museo Nacional de Colombia
1.
2.
1. Dawn (mountain range seen from El
Colegio)· 1960 · Oil on Canvas · 70 x 149.5 cm.
Courtesy of Museo Nacional de Colombia
2. The Night (La Mesa region) · 1960
Oil on Canvas · 70.5 x 150 cm. · Courtesy of
Museo Nacional de Colombia
46 / 47
Alicia Barney
En
y los residuos del habitar humano en
material para la formación de vida. La
en una serie de tubos de acrílico transpa-
rente llenos en dos terceras partes con
geológica de los farallones de Cali y, en
el tercio restante, con basura cubierta de
purva (carbón vegetal), un agente natural
estos desechos en abono tras cinco años,
haciendo el suelo cultivable de nuevo.
Alicia Barney ha insertado formas
narrativas inéditas en la historia del
propios del minimalismo y el land
art con procedimientos tomados de
la geología, la biología y la taxonomía,
no solo opera en el espacio de lo poé-
hechos humanos y sus consecuencias.
El trabajo de Alicia Barney es general-
mente visto como un ejercicio ambienta-
de acción coexisten ecologías complejas
lo emotivo y lo mágico a partir de un pro-
sus diagnósticos, protegen el secreto de
, In
, Alicia
Barney creates an alchemical space in
which trash becomes earth and the residue
of human habitation becomes material
for the formation of life. The piece, in its
different versions, consists of a series of
transparent acrylic tubes two-thirds full
-
allones mountains of Cali. The remaining
purva,
or vegetable charcoal, a natural agent
that guarantees the decomposition of
cultivable earth.
Alicia Barney has introduced unprece-
dented narrative forms into the history of
Colombian art. She mixes distinct elements
from minimalism and land art with pro-
cesses borrowed from geology, biology, and
taxonomy, opening critical perspective that
functions not only as poetry, but also as
something that clearly lays bare the actions
Alicia Barney’s work is generally seen as
an environmentalist exercise, but in its
richness, there are complex coexisting
ecologies that incorporate the environ-
mental, the political, the emotive, and
the magical through a process that, in the
impeccable formal resolution of its pieces
and the exactitude of its diagnosis, pro-
tects the secret of a powerful magic
 1987 1987
Tubos de acrílico, basura orgánica y tierra Acrylic tubes, organic waste and earth
10 tubos, c/u: 2 x 0.1 m. · Cortesía de Instituto 10 tubes, each: 2 x 0.1 m. · Courtesy of:
de Visión Instituto de Visión

48 / 49
Carlos Bonil
Hay un problema estructural al intentar
bogotano llamado Carlos Bonil. El pro-
más bien, es muchos artistas, de muchas
artes y de muchas ideas como para poder
articularlo bajo la identidad de un solo
- that Carlos Bonil is the intermediary
caótica pero siempre bien estructurada.
Este 44 Salón Nacional de Artistas cuenta
con tres muestras de su trabajo: en primer
lugar, Ya muy desagerado, de 2016, comen-
ta la expansión de una estética narco bajo
parece un regalo caído del cielo —o de la
gracia de algún capo— en plena entrada
Luego, Fonoarqueología y otras conexiones
con el Amazonas presenta los registros,
al escucha en un espacio de ensoñación
preconceptos sobre ese lugar mítico
Para terminar, en el marco del Seminario
Internacional Psicotropismos, Bonil pre-
senta en vivo Mugre, un proyecto musical
- project that he started in 2005, where he
ta, junto a su hermano Germán, un imagi-
nario sobre el sonido de la Guerra Fría y
las músicas de países septentrionales.
There is a structural problem in trying to
understand Carlos Bonil, who he is, and
what he does. The problem is that Carlos
Bonil’s status as an artist is troublesome.
It isn’t that he is not an artist, but that,
properly speaking, he is many artists, with
many arts and many concepts and that
subject. In some way, it must be conceded
of a vast conjunction of forces, desires,
a mass that might seem chaotic, but is
This Salon features three small works by
Ya muy desagerado [Way Too
Over the Top], from 2016, comments on the
growth of the narco aesthetic in the form
of a Hummer SUV that appears to be a gift
descended from the heavens —or from
the benevolence of some capo— in the
entrance to the Rialto Building.
Next, Fonoarqueología y otras conexiones
con el Amazonas [Phonoarcheology and
together to be heard as a dreamlike space
-
tions around this mythical place.
Finally, as part of the International Seminar
on Psychotropisms, Bonil presents the live
performance Mugre, a vampiric musical
performs German songs alongside his
brother that reinvent an imaginary that is
indebted to the sounds of the Cold War and
music from the northern countries.

1. Ya muy desagerado · 2016 · Instalación,
ensamblaje con cartón y papel de regalo
1.7 x 1.9 x 9 m.
2. Fonoarqueología y otras conexiones con
el Amazonas · 2016 · Compilaciones sonoras
44 min · 2 x 1.5 x 0.5 m.
1.
2.
1. Way Too Over the Top · 2016 · Installation,
assemblage with cardboard and gift paper
1.7 x 1.9 x 9 m.
2. Phonoarcheology and Other Connections
with the Amazon · Sound compilations
44 min · 2 x 1.5 x 0.5 m.
50 / 51
Milena Bonilla
Luisa Ungar
Este conejo mirando a la izquierda
(2014-2016) es una obra en dos partes:
de partida el acto grupal de lectura de
donde los residuos del chocolate en las
descritas en frases sucintas.
En el performance, Bonilla y Ungar tejen
una conversación con los participantes
ejercicio de adivinación, van emergiendo
allá, de su propia historia, la historia
de una planta ligada durante siglos a
procesos de explotación y mercadeo
colonial, de diseminación y construcción
de identidades nacionales, de rituales y
reiteraciones en torno a su primera natu-
a poco, a un espacio donde la planta se
transforma en moneda y el cacao, proce-
sado, en mercancía y fetiche.
El trabajo de Ungar y Bonilla construye
una serie de narrativas históricas dif í-
chocolate puede ser un conejo, pero,
Este conejo mirando a la izquierda [This
Rabbit Looking to the Left] (2014-2016) is
a work in two parts: a performance that
takes as its starting point the collective
act of reading a cup of chocolate, and a
series of photos in which the residue of the
chocolate in the cups suggests enigmatic
images depicted in succinct phrases.
In the performance, Bonilla and Ungar spin
a conversation between two participants
in the middle of the practice of divination
in which stories emerge where the cocoa
speaks not only of the particular futures of
those waiting for a revelation, but, beyond
that, of its own history, the history of a
plant bound for centuries to the processes
of colonial exploitation and trade, the dis-
semination and construction of national
identities, rituals and reiterations of its
original magical, sacred nature, in order
to arrive, little by little, to a space where
the plant is transformed into currency and
in which cocoa, processed, becomes mer-
chandise and fetish.
Ungar and Bonilla’s work constructs a
series of historical narratives that are hard
articulated during the performance, in
which a chocolate stain might be a a rabbit,
but, not accidentally, one that looks left in
the current historical moment.
Este conejo mira a la izquierda · 2016 This Rabbit Looks to the Left · 2016
Performance · 60 min (apróx) Performance · 60 min (aprox)

52 / 53
María Buenaventura
Esta artista de Medellín ha concentrado
la investigación sobre el cultivo de la
tierra en diversos contextos de la Sabana
de Bogotá, el aprovechamiento de sus
- over land ownership. In the installation, El
mación de propiedad. En la instalación
El territorio no está en venta presenta
un cúmulo de decretos impresos en
papel donde fueron sembradas algunas
semillas, un metro cuadrado de tierra
y el registro del complejo proceso de
desde el año 2000 entre agrupaciones
de campesinos y el gobierno bogotano.
Resultado de un prolongado proceso
de interacción entre la artista y varios
habitantes de la localidad más grande de
la ciudad, la obra da cuenta de la paciente
labor de resistencia de una comunidad
- metropolitan area of the capital through
sión jurídica del casco urbano de la capital
del país mediante decretos de construc-
ción de Viviendas de Interés Social.
- Latin America, which is manifested in the
cos más grandes de Latinoamérica,
619 de 2000 del Plan de Ordenamiento
Territorial de Bogotá, este trabajo hace
acciones de defensa de la tierra y el
desarrollo de estrategias de cuidado de
recursos naturales no renovables. Más
ecológicos, destaca la necesidad de man-
como fronteras naturales de protección
de los ecosistemas de alta montaña.
This artist from Medellín has focused her
practices surrounding research on the
cultivation of the land in various contexts
in the Bogotá Savanna, the exploitation of
its resources, and the history of struggles
territorio no está en venta [The Land Isn’t
for Sale], she presents a cluster of legal
decrees printed on paper on which seeds
and the record of the complex process of
negotiation that has been ongoing since
the year 2000 between groups of campesi-
nos and the government of Bogotá.
This work is the result of a prolonged pro-
cess of interaction between the artist and
various inhabitants of the area surrounding
-
ty’s patient labor of resistance in opposing
the also patient juridical expansion of the
decrees for the construction of Viviendas
de Interés Social [low-income housing].
Faced with the threat of destruction of one
of the largest archaeological deposits in
signing of decree 619 of 2000 of the Plan de
Ordenamiento Territorial de Bogotá [Zoning
Plan of Bogotá], this work manifests the
overlap between actions in defense of
land and the development of strategies for
the protection of nonrenewable natural
resources. More than simply celebrating
the existence of ecological sanctuaries, the
work stresses the need to maintain the
delicate environments that still function as
natural borders protecting the high moun-
tain ecosystems.
El territorio no está en venta · 2011-2016 The Territory is not for Sale · 2011-2016
Instalación · Dimensiones variables · 2.4 x Dimensions Variable · 2.4 x 5.4 x 5.1 m.
5.4 x 5.1 m. · Video Gustavo Ayala: 1:30 min. Video by Gustavo Ayala: 1:30 min.

54 / 55
Calipso Press
Calipso Press es el proyecto editorial de
Eva Parra y Camilo Otero, activo desde
2015. En el marco del 44 Salón Nacional
de Artistas su propuesta de impresión
colaboración con el público del Salón.
En el proyecto, los participantes generan
- phic processes, articulate points of view
las técnicas y los modos de producción
Calipso Press is the editorial project
of Eva Parra and Camilo Otero, active
since 2015. In the 44th National Salon
of Artists, Calipso developed a self-pu-
blication project that makes use of
risographic printing, in collaboration with
the Salon's public.
In the project, participants generate gra-
about the pieces that make up the expo-
of risographic prints.
Photographic documentation of
Calipso Press’ workshop.

56 / 57
James Campo
Santa Rosa es un conjunto escultórico
elaborado por el artista payanés James
Campo a partir de la recuperación, inter-
vención y ensamblaje de herramientas
manuales, de motor y armas de fuego,
usadas por el artista, su padre y su abuelo
a lo largo de sus vidas. La unión de picas,
motosierras, cortadoras de pasto y guada-
ñas no solo representa la particular edu-
comunitario en medio de un contexto
de guerra irregular semipermanente.
Esta obra rescata los índices dejados por
el uso reiterado de los objetos en labores
rutinarias. Al cultivo para el comercio se
intelectual a partes iguales. De otro lado,
habita el artista no solo es responsabili-
- voice —and legal standing— in the centers
ley— en los estrados del poder central.
No obstante, su reclamo es mucho más
lamentables propuestas de segregación
étnica y social en el departamento del
Cauca, apuesta por volver a pensar en la
virtud —y en las complejidades— de la
marcha exige un compromiso casi exclusivo.
Santa Rosa is a sculptural complex con-
structed by James Campo, an artist from
Popayán in the department of Cauca,
through the recuperation, alteration, and
assembly of both manual and motor tools,
father, and his grandfather throughout
their lives. The union of picks, shovels, axes,
machetes, and hoes with chainsaws, lawn-
mowers, and scythes not only represents
the particularly sentimental education he
in the context of an irregular, semi-perma-
nent war.
This work recovers the marks left by the
continuous use of objects in routine labor. A
childhood in commercial agriculture is
other hand, the work speaks to the fact that
-
ment where the artist lived is not the sole
responsibility of armed groups, but also
the political representatives who give them
of power.
Nevertheless, his claims are much more
sophisticated. Overcoming atavistic resent-
ments such as those that have inspired
regrettable proposals for economic and
social segregation in the department of
Cauca, he bets on a return to the virtue
and the complexities of reconciliation, to
demonstrate that it’s not enough to desire
almost exclusive commitment.
Santa Rosa · 2013-2016 · Instalación Santa Rosa · 2013-2016 · Installation,
Dimensiones variables · 2.3 x 4.6 x 6 m. Dimensions Variable · 2.3 x 4.6 x 6 m.

58 / 59
Antonio Caro
Hace cuarenta y un años, el artista
Antonio Caro presentó otra de las obras
- beginning of his long career. Through the
encontró en la repetición de imágenes,
Colombia-Marlboro,
con el nombre del país escrito con la
cigarrillos de mayor recordación nacional.
Además, mediante el gesto de sacar los
carteles de la galería y ponerlos de cara
a la calle, reiteró su crítica frente a las
constantes incursiones de ese tipo de
corporaciones en el país. Este gesto le
sirvió para representar la realidad del
a Colombia a cumplir con el rol de des-
pensa sobreexplotada, tierra exhausta,
entorno natural desprotegido —o cuidado
a medias—, país poblado de ciudadanos
-
da, productos provenientes del exterior.
Presentar esta obra en el marco de este
Salón Nacional reitera la absoluta actua-
lidad de su planteamiento. Sobre todo
ampliar los alcances del arte político de
su momento, la obra sigue hablando de
el ejercicio de soberanía en nuestros
días. En una sociedad condicionada
por el manejo de las tasas de consumo,
donde el comercio es lengua franca del
intercambio entre naciones, y donde
las regulaciones dependen del cumpli-
miento de compromisos impuestos por
tratados de libre comercio, no basta con
-
mos nuestra necesidad de consumo.
Forty-one years ago, Antonio Caro
presented one of the key works of the
possibilities he discovered in the repetition
of images, he created works such as Colom-
bia-Marlboro, the name of the country
imitating the typography of the most rec-
Moreover, by taking his posters out of the
gallery and making them face the street,
he reiterated his criticism of the constant
incursion of this type of corporation. This
act represented the reality of the economic
colonialism that has relegated Colombia to
the role of overexploited pantry, exhausted
land, unprotected —or only partially pro-
tected—natural environment, a country
The presentation of this work in the
National Salon reiterates the contemporary
relevance of its approach. Because, beyond
extending the reach of the political art of
its time, his work continues to address the
ambiguity to which the exercise of sov-
ereignty has been subjected. In a society
conditioned by its rate of consumption, in
which commerce is the lingua franca of
exchange between nations, and in which
regulation is delimited by the demands
imposed by free trade agreements, it’s not
enough to stand up and protest: one must
pay attention to the elements with which
we satisfy our need for consumption.
Colombia – Marlboro · 1975 · Edición 2016 Colombia – Marlboro · 1975 · Edition 2016
Instalación en espacio público · 3 x 15 m. Installation in public space · 3 x 15 m.

60 / 61
Carolina Caycedo
empeña la sostenibilidad ambiental del
país por la ilusión del capital proveniente
irrisorias por la explotación de recursos
invaluables, como el agua, resulta perti-
de estas formas de depredación.
Carolina Caycedo ha trabajado durante los
últimos cinco años como artista, vocera
y colaboradora de Ríos Vivos, entre otros
movimientos de resistencia civil cam-
pesina, en torno al caso particular de la
construcción de represas y los nefastos
resultados de tal implementación. Sin ir
más lejos, el proyecto hidroeléctrico del
Quimbo ha afectado de forma directa a por
por la acción conjunta de Emgesa, de
organismos estatales y de actores armados.
Esto, por supuesto, sin hablar del daño
medioambiental, de la responsabilidad del
parte del país, ni del detrimento a largo
Carolina Caycedo resuena, revelando las
social, infraestructuras de contención y
abiertos ejercicios de represión. En Los
españoles la nombraron Magdalena pero
los nativos la llaman Yuma, Caycedo pre-
senta una mirada íntima sobre su relación
expande una mirada política sobre formas
de contención social y medioambiental para
-
Now, when the Colombian government is
trading the country’s environmental sus-
tainability for the promise of capital from
multinationals that pay laughable sums
for the privilege of exploiting our priceless
resources like water—, it seems pertinent
to understand the complexity of the prob-
lems that result from these depredations.
as an artist, spokesperson and collabo-
rator with Ríos Vivos, among other rural
civil resistance movements, united in the
opposition to the construction of dams and
warning of the disasters that follow their
implementation. The Quimbo hydroelectric
project has directly affected at least 30,000
people who have been displaced, threat-
ened, and made vulnerable by the actions
-
tions, and armed groups. This, of course, is
in addition to the environmental damage
and the role of Quimbo in the drought that
currently affects a large part of the coun-
try, and of the damage to the hydrological
patrimony of Colombia for years to come.
Within this context, the work of Carolina
Caycedo echoes, revealing the tensions
infrastructures of contention, and the
open exercise of repression. Her work Los
españoles la nombraron Magdalena pero
los nativos la llaman Yuma [The Spanish
Named it Magdalena but the Natives Call
it Yuma] opens up political insights into
that every dam project is accompanied
by a program of repression that must be
Los españoles la nombraron Magdalena, The Spaniards Named Her Magdalena, but
pero los nativos la llaman Yuma · 2013 · Video the Natives Call Her Yuma · 2013 · Video
instalación · Dimensiones variables · 3.1 x 6 x installation · Dimensions Variable · 3.1 x 6 x
5.6 m. Video: 27 min. 5.6 m. Video: 27 min.

62 / 63
Gustavo Ciríaco
proyecto (pensado para el
compartida. Con la selección de un
paisaje y un lugar desde donde el público
observa, el proyecto promueve su gradual
El paisaje reúne hombres y mujeres,
- and banal, overtakes the work. Fleeting in
magoría. Algo sin nombre, sublime y
aprehensión, el paisaje genera relatos,
biograf ías y fábulas. El paisaje como
experiencia del mundo, como parte de un
proceso continuo de apropiación y habi-
el panorama de intersecciones entre lo
invita al público a una desaceleración de
-
pliega y revela otras formas de percibir
Con el uso mínimo de elementos, la
participación de voluntarios y el lenguaje
de la coreograf ía contemporánea, Ciriaco
logra una experiencia cuasi-cinemática
This choreographic performance is a
selecting a landscape and a location from
which the public can observe it, the project
characters that appear and disappear.
The scene brings together men and women,
city and nature, history and phantasmago-
ria. Something unnamed, at once sublime
apprehension, the scene brings forth sto-
ries, biographies, and fables. The landscape
becomes an experience of the world, part
of a continual process of appropriation and
habitation of everything that surrounds us,
and a panorama of intersections between
what we see and imagine. This live piece
invites the public to slow down their daily
reveals other ways of perceiving the city
and our everyday context.
With a minimal use of elements, the par-
ticipation of volunteers, and the language
of contemporary choreography, Ciríaco
of the architecture and the public space
where the work is set.
Onde o horizonte se move [Donde el Where the Horizon Moves · 2012 · Site

64 / 65
Fredy Clavijo
La Naturaleza de la irrupción, es una
La cristalina,
amplía los conceptos de arte público,
piedra enchapada en cristanac con barras
de piscina, en un remanso del río Otún
donde familias de clase media pasan sus
días de ocio. En el segundo momento, el
directa al charco y la lleva a la piscina de
un exclusivo club social para registrar las
río o en la piscina todos juegan.
En esta obra el artista indaga acerca
del manejo del tiempo libre y el ocio
en diferentes estratos económicos de
la sociedad contemporánea mientras
objeto escultórico varía según el contexto
donde se instala, propiciando una irrup-
ción estética en un espacio cotidiano.
La Naturaleza de la irrupción [The Nature
of the Eruption], is a work that plays out in
La cristalina
[The Crystalline], an intervention in a rural
space that expands the concept of public
art, with a sculpture that consists of a
stone covered in a mosaic of pool tiles, in
a swimming hole in the Otún River in which
middle class families spend their days off.
In the second phase, the artist created an
direct reference to the swimming hole, and
takes it to the pool of an exclusive social
club to register the reactions of the people
there. In the end, everybody plays in both
the river and the pool.
In this work the artist investigates how
people in different classes of contemporary
-
objects varies depending on the context
in which they are installed, promoting an
aesthetic eruption in everyday spaces.
 1.

2.

1. La naturaleza de la irrupción · 2016 1. The Nature of Irruption · 2016

Videoinstalación · 1.8 x 6.2 x 4.5 m. Video · installation 1.8 x 6.2 x 4.5 m.
Video: 1:43 min Video: 1:43 min
2. Video·La Cristalina:·03 min 2. Video·La Cristalina:·03 min

66 / 67
Alberto De Michele
El recorrido de este artista italiano
por diversas partes del mundo resulta
fundamental para entender sus obras
de la última década y sus análisis de la
retórica construida en torno a fenómenos
considerados políticamente incorrectos,
como el del hampa. De esta forma, vin-
cula la comprensión tradicional del com-
portamiento de los prófugos de la justicia
con su modus operandi en el terreno,
para percibir la particular militancia de
como resultado de procesos desiguales,
propios de una sociedad basada en la
El segundo viaje resulta de un proceso de
larga duración y alto riesgo f ísico: en esta
- ventional notions of safety by traveling to
cionales de seguridad para recorrer una
peligrosa área del mar Caribe junto a un
de la violencia armada colombiana. Sin
embargo, decide privilegiar el compo-
una existencia sin riesgos en su propio país.
Sus videos e instalaciones incluyen
espectador construya una historia sin
depender de perspectivas excluyentes.
Es decir, enseña a mirar de forma no
menciona la carga incendiaria de sus
acciones anteriores. Así orbita entre
las revelaciones a medias y la voluntad
de exponer un manto de duda sobre
alguien a merced del juicio público
The travels of this Italian artist throughout
the world are fundamental to understand
his works of the last decade and his analy-
sis of the rhetoric surrounding phenomena
considered politically incorrect, such as
criminal behavior. His practice links a
traditional understanding of the behavior
of fugitives from justice with their modus
operandi in their environment, in order to
who have turned to the underworld as a
are unavoidable in societies based on the
accumulation of wealth.
El segundo viaje [The Second Journey]
results from a long and physically perilous
-
a dangerous region on the Caribbean coast
department of Cauca) who took part in the
armed violence in Colombia. However, he
life oscillating between the clandestine
and a yearning for the peacefulness of a
subject committed to the pursuit of a risk-
free existence in his own country.
His videos and installations include evoc-
ative images that allow the spectator to
construct a story without relying on
exclusive narrative perspectives. That is to
say, one learns to see in a non-Manichean
manner, observing a character resembling
a mysterious actor who doesn’t mention
the destructive burden of his past. Through
this practice, the work orbits between par-
tial revelations and the desire to maintain a
mantle of doubt concerning a person at the
mercy of public opinion.
El segundo viaje · 2015 · Video: 11:18 min. The Second Trip · 2015 · Video: 11:18 min.

68 / 69
Wilson Díaz
En esta oportunidad, el artista Wilson
- that he has made over a period of time
do elaborando desde hace tiempo, acom-
pañadas de muestras de su colección
se ha editado históricamente para promo-
ver campañas políticas, hacer propaganda
de Estado, vender la guerra como el mejor
negocio, convencernos de la bondad de
la mega(ga)minería, llevarnos a pensar
- various formats to remind us of how we
matos distintos para recordar cómo nos
gusta caer rendidos ante las mentiras de
nuestros peores políticos cuando hacen
campaña. Música proselitista para oídos
selectos; pintura de portadas de discos
para observadores atentos. Es un proyecto
y -
Este laboyano presentó su serie
caduca de la hermosura de su gloria en
las instalaciones del Antiguo Club Rialto,
como complemento de la versión libre y
espontánea a partir de la presentación
a componer políticos o le imponen los
publicistas a los políticos, y cuya sede
será el Rincón Clásico, mítico punto de
encuentro de la ciudad de Pereira. Como
performance de provocación, su duelo
musical con don Olmedo se presenta
como un divertimento y un ejercicio de
generaciones venideras sepan la clase de
National Salon with a self-curation of his
work, in which several of the paintings
are reunited, accompanied by samples
from his record collection. It is a perverse
discography designed to promote political
campaigns, create state propaganda, sell
war as the best kind of business, convince
us of the goodness of mega-mining, bring
us to think that we need the commercial
of the above.
succumb to the lies of the worst politi-
music for select ears, paintings of album
covers for careful observers. It’s a project
intended to cause us, deliberately and
selectively forgetful voters that we are, to
blush a bit for having voted for this or that
inveterate thug.
This artist from Pitalito will present his
series of works -
mosura de su gloria [The Flower Expires
Because of the Beauty of its Glory] in the
Club Rialto, as a complement to a free and
spontaneous version featuring music sung
by politicians, commissioned by politicians,
or imposed on them by their publicists,
which will be located in the Rincón Clásico,
the mythical meeting place of Pereira. As a
provocative performance, his musical duel
with Don Olmedo is presented as enter-
tainment and as a way of recuperating the
forgotten, so that the coming generations
can be aware of what kind of voters their
predecessors were. And how much we
enjoyed this genre of music.
Alienando pueblo · 2016 · Instalación Alienating People · 2016 · Installation
(3 pinturas y audio) · Audio: 42 min. (3 paintings and audio) · Audio: 42 min.

70 / 71

proyecto Heure de Paris [Hora de París],
y 2015, con materiales audiovisuales
transmitidos por noticieros franceses
en los años ochenta, cuando reportaban
las tensiones geopolíticas del Medio
Oriente. En esta obra, el artista se
apropia de una serie de mapas colo-
imágenes televisivas las acompañaba
una crisis política, una confrontación
armada, una invasión o una masacre
relacionada con alguna disputa territorial.
en Francia tras el golpe de estado
militar de los años ochenta. Estos
mapas emitidos por televisión fueron
la única fuente visual de información
acerca de las crisis territoriales en su
-
nacional no podía entrar legalmente.
Los cambios en las delimitaciones fron-
Oriente, incluyendo la guerra de Siria e
Irak. Cuando se observan con distancia,
las capas de color de las impresio-
cantidad de fotogramas— se asemejan
a las capas geológicas del subsuelo. El
memoria de toda historia social estará,
eventualmente, enterrada, en el olvido,
en la amnesia colectiva de la humanidad
ante los errores bélicos del pasado.
This installation, which is part of the proj-
ect Heure de Paris [Hour of Paris], was
using broadcast materials from French
television news in the nineteen-eighties
that covered geopolitical tensions in the
Middle East. In this piece, the artist appro-
priates a series of colored maps of Turkey
and its vicinity. The televised images are
accompanied by the voice of a journalist
explaining a political crisis, an armed
confrontation, an invasion, or a massacre
related to a territorial dispute.
after the coup in Turkey that installed the
military dictatorship in the nineteen-eight-
ies. These maps broadcast on television
were the only visual source of information
about the territorial crises in his native
country, as the international press could
not legally enter Turkey.
The changes to the borders, visible on
the Middle East, including the war in Syria
layers of color in the prints, which vary
based on the number of stills used, resem-
ble the geological strata of the subsoil. The
retinal effect insinuates that in the future
all memory of social history will eventually
be buried under the earth, forgotten in the
collective amnesia of humanity concerning
past errors of war.
 1.

2.

Hora de París: 1. El mapa y el territorio Heure de Paris: 1. The map and the territory
2. Separación · 2011-2015 · Instalación 2. Separation · 2011-2015 · Installation
Video: 17:47 min. · 11 impresiones digitales a Video: 17:47 min. 11 color digital prints each:
color c/u 1.65 x 0.9 m. 1.65 x 0.9 m.

72 / 73
Herlyng Ferla
con cemento frutos de cacao, el artista
caleño Herlyng Ferla da cuenta de la
incorporar aportes provenientes de la
antropología cultural, las ciencias políticas
conformó el grupo de estudio La Nocturna,
junto a la psicóloga y curadora Éricka
otros, Ferla estableció una base concep-
tual para ampliar sus lecturas sobre el
crecimiento de las ciudades. Así como en
algunos casos convirtió estos resultados
en curaduría, ahora lo hace en obra.
caer envenenado de soberbia y políticas
de Estado, y a su cadáver intoxicarnos
con congestión y odio de clase, este
artista sale a las calles de Cali para
- one may encounter piles that can no longer
cación de hitos urbanos no tradicionales
—lugares donde encontraba acumulaciones
aún no consideradas basura, como rejas a
utilitaria—, ahora comenta la superpo-
sición cultural de las aglomeraciones
infraestructura. Así, resuelve una ecuación:
- the principal material of urban growth
el material protagónico del crecimiento
cimarronas en el Valle del Cauca.
In these cement sculptures of cocoa fruits,
the artist Herlyng Ferla, from Cali,
demonstrates the changes his work has
undergone since he began to incorporate
practices from cultural anthropology, polit-
ical science, and the history of architecture.
After being part of the study group La Noc-
turna together with the psychologist and
Restrepo, among others, Ferla established
a conceptual base to enhance his studies
of urban growth. This enrichment, already
evident in curatorial efforts, is now visible
in his work.
Like those architects who saw the par-
arrogance and State policies, and later saw
its corpse poisoning us with congestion
and class hatred, this artist goes out into
the streets of Cali to examine ways of living
-
His labor, which began identifying nontra-
ditional urban landmarks —places where
be considered trash, like iron bars in their
way to being melted, or broken masonry
blocks that still have some utilitarian
function— now comments on the cultural
superposition of urban conglomerations
-
ering of runaway slave communities in
Valle de Cauca.
Sin título · 2014-2016 · Instalación · 2 x 5 x 6 m. Untitled · 2014-2016 · Installation· 2 x 5 x 6 m.

· Jornales 2013-2016 · Texto impreso al sol Ferla · Wages 2013-2016 · Text sun-printed
during 15 days · Fragment from the novel Los
Los Estratos de Juan Cárdenas · 1 x 3 m. Estratos, by Juan Cárdenas · 1 x 3 m.

74 / 75
Stephen Ferry
Este fotoperiodista estadounidense viene
cubriendo los cambios políticos del país
desde la década de 1980, retratando
poderosamente asuntos como la per-
secución contra activistas de derechos
humanos, ambientales y políticos.
Río Magdalena es una investigación
Ferry en sus travesías por el país. En su
recorrido por el río retrata las distintas
de la mano del cronista alemán Michael
Stuhrenberg, para homenajear la lectura
nosotros sabemos a medias y mal.
El Macondo literario se pone en cuestión
ante un universo ni tan realista ni tan
mágico, estructurado sobre las duras
grupos humanos dedicados a sobrevivir
en una extensa región. Como dice Ferry:
“seguramente nunca existen visiones
-
cias culturales y de la imaginación de
uno, pero en el caso de mi relación con
el famoso río Magdalena, lo subjetivo y lo
objetivo (si existen tales polos opuestos)
se intercalaron en todo momento […] sin
- multitude of things that presented them-
Es decir, afecto de verdad.
This American photojournalist has cov-
ered the political changes in this country
since the 1980s by powerfully document-
ing subjects such as the persecution
of environmental, political, and human
rights activists.
Río Magdalena [Magdalena River] is an
investigative work that ties together var-
ious encounters that Ferry has had in his
travels across the country. In his journey
along the river, he portrays the different
cultures that appear along the banks as he
goes by. He is joined by the German writer
Michael Stuhrenberg along the river, to pay
homage to Stuhrenberg’s earlier reading
us barely know, and even then, only poorly.
The Macondo of literature is called into
very realistic nor very magical, structured
by the deep complexities and enormous
subtlety of groups of people dedicated
to surviving in the vast region. As Ferry
says, “surely pure visions of reality don’t
and imagination, but in the case of my
relation with the famed river Magdalena,
the subjective and the objective (if those
polar opposites do exist) are constantly
interspersed [...] doubtlessly, everything
selves at each moment, and everything that
I decided to photograph and later include
in the selection presented here, is the
is to say, of true affection.
Río Magdalena · 2014 · Fotografías · 11 Magdalena River · 2014 · Photographs · 11
fotografías: 24 x 36 cm. · 3 fotografías Photographs: 24 x 36 cm. · 3 Photographs
66 x 100 cm. 66 x 100 cm.

76 / 77
Óscar Figueroa
Durmientes es un proceso arduo y
del enclave bananero en Centroamérica
y el Caribe colombiano. Su proceso de
grabado constituye la memoria de un
de grabados de los viajeros/grabadores
europeos del siglo XIX en las Américas.
En el caso de Figueroa, el paisaje repre-
sentado son las ruinas del ferrocarril
de la United Fruit Company, cuya línea
férrea atravesó el paisaje entero, mono-
donde estaba anclada la multinacional
norteamericana.
Figueroa viajó desde las montañas
de Guatemala hasta el Magdalena en
chino para capturar las texturas y la
historia impregnada en las traviesas
de madera de los ferrocarriles obso-
letos de la United. Los grabados están
acompañados por apuntes, grandes
clavos de hierro oxidados, insectos y
reptiles secos, objetos encontrados en
de la vía, las condiciones climáticas
conoce en Centroamérica, ‘durmientes’,
ferrocarril y la economía del enclave. En
Costa Rica, por ejemplo, durante la cons-
trucción del ferrocarril de la United, cien-
tos de trabajadores rasos chinos y jamai-
de trabajo, muchos de ellos infectados
de malaria. En Colombia, a lo largo del
siglo XX, el ferrocarril transportó tanto
bananos como cuerpos de trabajadores
Durmientes [Sleepers] is an arduous and
analytical process concerned with the his-
tory of the banana-producing enclaves of
Central America and Colombia’s Caribbean
coast. The process documents a voyage
and references the engravings of the trav-
elers/printmakers in the Americas of the
nineteenth century. In Figueroa’s case, the
landscape he represents are the ruins of
the United Fruit Company railway, whose
tracks traversed the entire region, monop-
the North American multinational corpora-
tion took root.
Figueroa traveled from the mountains
of Guatemala to the Magdalena river in
Colombia with ink and Chinese rice paper
to capture the textures and the history
embedded in the obsolete wooden rail
ties of the United railroad. The prints are
accompanied by notes, huge, rusted rail
spikes, dried insects and reptiles, and
objects found in each place, which speak
to the railway’s abandonment, the climate,
and the attack of tropical plagues.
pieces of wood and the name by which they
are known in Central America, [sleepers],
alludes to the position of the dead who
constructed the railroad and the region’s
economy. In Costa Rica, for example, during
the construction of the United railroad,
one hundred Jamaican and Chinese
workers died due to poor labor conditions,
many of them infected with malaria. In
Colombia, during the 20th century, the
railroad transported bananas as well
as the bodies of workers massacred for

1. Durmientes · 2012-2013 · 12 grabados
insectos, objetos encontrados · Una vitrina:
1.1 x 1 x 7.5 m. Una vitrina: 1.1 x 4.8 x 1 m
2. El billete más hermoso II · 2011-2016
Billetes recortados · 30 x 30 x 12 cm.
1.
2.
1. Sleepers · 2012-2013 · 12 ink engravings on
rice paper, wood, insects, found objects
One Cabinet: 1.1 x 1 x 7.5 m · One Cabinet:
1.1 x 4.8 x 1 m
2. The Most Beautiful Bill II · 2011-2016
Cut-up bills · 30 x 30 x 12 cm.
78 / 79
Andres Felipe Gallo
Andres Felipe Gallo es un santarrosano
el dibujo y las condiciones técnicas de la
producción tridimensional. Su obra está
mediada por la experimentación con las
condiciones de ambos procedimientos:
construye a partir de detritos reunidos
propone maniobras de intervención
- the conventions imposed by modernist
nen sus obras, y altera las convenciones
impuestas por la retórica modernista
empleado en obras anteriores.
La articulación de estos elementos
reaparece en la versión de la obra
Acupuntura urbana
a un trabajo homónimo previamente
exhibido (pared de cascajo consolidado
- -
miento original (mediante un despliegue
ciudad de Pereira). Concluye amplian-
do su pregunta por la generación de
escombros a gran escala (al cuestionar
producción de su material de trabajo,
poner peso de más en una estructura
expositiva inadecuada, el artista se
evidentes cambios f ísicos en un contexto.
- of its destruction.
gridad, expresa la potencia del material
elegido y transforma la escultura no en un
hito del territorio sino de su destrucción.
Andres Felipe Gallo is from Santa Rosa,
Colombia, and works on processes related
to drawing and the technical conditions of
three-dimensional construction. His work is
mediated by experimentation with the con-
ditions of both processes: he uses detritus
gathered during his wanderings across the
city, proposes acts of architectural inter-
vention in the sites of his works, and alters
-
ous pieces.
These elements reappear in this version of
Acupuntura urbana [Urban Acupuncture],
in which he returns to a previously exhib-
ited piece of the same name (a gravel wall
held together with cement), modifying its
original placement (by lengthening it hor-
of a large amount of rubble (in order to
test the amount of weight the building that
houses the work can bear).
production of the materials he uses in his
work, Gallo also brings an ontological focus.
By putting more weight than a structure
made for an exhibit can hold, the artist
becomes an agent of physical changes unto
an environment. If in the process of beau-
tifying it he risks its integrity, he expresses
the potential of his chosen materials and
transforms the sculpture into something
that is not a landmark of the territory, but
Acupuntura urbana · 2016 Urban Acupuncture · 2016
Instalación · 3.1 x 9.3 x 8.7 m. Installation · 3.1 x 9.3 x 8.7 m.

80 / 81
Ethel Gilmour
La iconograf ía de Gilmour no solo se
debe asimilar como parte de la historia
del arte en Colombia, sino como memoria
visual de la intrínseca cultura de violen-
cia del país, especialmente del sangrien-
los años ochenta y noventa. Su lenguaje
visual “naif” mantuvo una subjetividad
y una mirada doméstica y “perversa”
la delincuencia pandillera, la represión
del Estado y los paramilitares, así como
de la violencia intrafamiliar.
pintura surrealista en la contemporanei-
la iconograf ía católica popular entre
- resenting visceral realities. In the course
lidades viscerales. A lo largo de los años,
el paisaje mantuvo un rol protagónico en
sus composiciones, como una indagación
pictórica acerca del territorio nacional.
En Colombia bien. Colombia no tan bien
(1983), el paisaje aparece sobre las caras
de un machete verdadero.
Un ready-made simbólico del trabajo
agrario, de las luchas en el campo y de
puede rastrear desde las batallas de la
Independencia y la violencias biparti-
distas, hasta las violencias del presente,
el de Gilmour y el nuestro. En una cara
paisaje armónico, una proyección de un
sueño. En la otra, hay un paisaje ensan-
grentado de cuerpos desmembrados. Un
The iconography used by Gilmour should
not only be understood as part of the
history of Colombian art, but also as a
visual memory of the country’s intrinsic
culture of violence, especially in the bloody
the 1980’s and 1990’s. Her “naïf” visual
language maintained a subjectivity and a
-
of gangs, State and paramilitary repres-
sion, and domestic violence.
Her work is a legacy that vindicates the
validity of surrealistic painting in contem-
porary art. In several of her pieces the
popular iconography of Catholicism is
-
of her career, landscape continued to have
a leading role in her compositions, as a
nation. In Colombia bien. Colombia no tan
bien [Colombia is Fine. Colombia is Not So
Fine] (1983), the landscape appears on the
faces of a real machete.
It is a symbolic ready-made about work on
the land, agrarian political struggles and
the eternal violence of Colombia, which
can be traced back from current forms of
violence —those witnessed by Gilmour and
ourselves— to the bipartisan violence of
the mid-20th century and to the battles
of the War for Independence. On one side
of the machete there is a happy town in a
harmonious landscape; the projection of
a dream. On the other, a bloody landscape
full of dismembered bodies. One peaceful
machete and another at war, as in the cur-
Colombia bien, Colombia no tan bien · 1983 Colombia Fine, Colombia not so Fine
Óleo sobre objeto encontrado · 5 x 64 cm. 1983 · Oil paint on found object · 5 x 64 cm.

82 / 83
Beatriz González
sobre la deportación, por parte del
colombianos tras el cierre de la frontera
entre ambos países en 2015. Durante
esta crisis humanitaria, familias enteras
a través de ambos territorios, incluso
viéndose obligadas a atravesar el río
diario imágenes de personas cargando des-
de muebles hasta animales. La sensación
apocalíptica de éxodo era instigada por
la desesperación del presidente Nicolás
Maduro en su intento de fabricar un enemi-
país —los colombianos—.Maduro distraía a
la opinión pública y su nacionalismo instru-
Paradójicamente, años atrás, varios de esos
escapando de la violencia colombiana en
similares condiciones inhumanas.
La reducción de la forma en su lenguaje
pictórico, la apropiación de imágenes y la
serialidad, convierten imágenes mediá-
la prensa, en símbolos para la memoria.
dialogan con el arte pop y la cultura popular,
producen siempre un arte anti-arte. Esta
obra, por ejemplo, la primera impresión
a las formas de producción del presente.
El aspecto doméstico como cenefa y no
nuestros valores sobre clase y gusto.
This piece is inspired by press clippings
government of Colombian nationals after
the closing of the border between the two
countries in 2015. During this humanitarian
crisis, entire families had to walk long dis-
tances through both territories, and were
even forced to cross the river along the
border while carrying their belongings.
At the time, the press showed daily
images of people carrying everything
from furniture to animals. This apocalyptic
sensation of exodus was instigated by the
Nicolás Maduro, who needed to fabricate
an enemy that could explain the economic
crisis in his country: Colombians. Maduro
distracted the public and his nationalism
spurred on xenophobia.
Paradoxically, years before, some of those
Colombian refugees had crossed the same
border into chavista
violence in Colombia under similar inhu-
mane conditions.
The reduction of form into pictorial lan-
guage, the appropriation of images, and the
serial nature of the work turn images from
the media, which otherwise would be lost
in the news cycle, into lasting symbols of
which also establish a dialogue with pop
art and popular culture, produce an art
that is anti-art. This work, for example, her
production. By using the domestic aspect
as decorative wall trimmings, instead of
a canvas, the artist inserts this scene
has produced since the nineteen-sixties,
class and taste.
Zulia Zulia Zulia · 2015 · Impresión digital Zulia Zulia Zulia · 2015 · Digital print on
canvas · 0.6 x 8.6 m.

84 / 85
Matilde Guerrero
El modo como han sido construidas las
principales ciudades de Latinoamérica
ha dependido inicialmente de la
ubicación de los núcleos de poder
económico y político. A partir de esa
urbanos. Luego viene la coexistencia y
poblaciones marginales se fortalecen
En medio de esa tensión se han desarro-
llado las peores políticas de segregación
y condicionamiento de la calidad
urbanística en diferentes poblaciones.
Para la artista Matilde Guerrero, la
latinoamericanos permite comprender el
estratos medios y bajos construyen sus
hogares lo hacen buscando conciliar la
satisfacción de sus necesidades vitales y
la representación de sus aspiraciones de
Tierras Prometidas
la planeación racionalista, la tendencia
a la expansión espacial de la vivienda
Es ahí donde Guerrero percibe la con-
como nuevas formas de relación social.
se entrevén en este continente no
también donde se crean, atendiendo
la participación de redes comunitarias,
nuevas modalidades de ahorro colec-
tivo, procesos de autoconstrucción y
planeación de posibilidades alternativas
The way in which the main Latin-American
cities were built depended initially on the
location of political and economic power
more dynamic settings of marginality arose.
Later came coexistence and mutual bene-
relationship changed again, with the fringe
settlements gaining strength and becoming
a center themselves.
The worst policies of segregation and con-
ditioning of urban life for different classes
developed amid this tension. For the artist
Matilde Guerrero, the architecture of the
peripheral neighborhoods of Latin America
enables us to understand the fact that
when the inhabitants of the lower and
middle classes build their homes they
do it to reconcile the satisfaction of their
basic needs with the representation of
their social aspirations. Tierras Prometidas
[Promised Lands] illustrates this process
and shows, in its own materiality, that
beyond rational urban planning, the trend
towards spatial enlargement of housing
depends on the availability of wealth.
It is there that Guerrero perceives the
shaping of inhabited spaces as new forms
of social relationships. For her, the prom-
ised lands glimpsed on this continent are
through their participation in community
networks, they create new modes of collec-
tive savings, processes of self-construction,
and plans for alternative possibilities which
allow them to strengthen the lives they
lead alongside their neighbors.
Tierras prometidas · 2016 · Instalación Tierras prometidas · 2016 · Installation
Dimensiones variables · 1.1 x 4.4 x 2.1 m. Dimensions Variable · 1.1 x 4.4 x 2.1 m.

86 / 87
Nicolás Guillén
En 1968, el Instituto Cubano del Arte
le encargó al Director Nicolás Guillén
Landrián —sobrino del poeta nacional
Nicolás Guillén— un documental acerca
del Cordón de La Habana; un ambicioso
proyecto estatal de agricultura de siem-
bra de café a gran escala. El resultado
muestra un lenguaje y montaje cinema-
ruso constructivista: repetición mecánica
de planos, ángulos picados e inusuales
experimental de texto, etc. En su caso, el
contenido y la narrativa van en contravía
de las intenciones propagandísticas y
genera un mensaje contra-revolucionario.
primeras plantaciones de café en Cuba
a cargo de colonos Franceses en el siglo
XIX y la explotación de esclavos afro-des-
cendientes, pasando por fragmentos
del oleaje del mar mientras se oyen
fragmentos del gran poema nacional
Un gran lagarto verde (1958) de Nicolás
Guillén, y termina con los desastres
ambientales y sociales causados por la
- depiction of the environmental and social
lucionario insistió en implementar.
In 1968, the Cuban Institute of Cine-
matographic Art and Industry (ICAIC) asked
the director Nicolás Guillén Landrián —the
nephew of Cuban national poet Nicolás
Guillén— to create a documentary about
the “Cordón de La Habana”; an ambitious
state agricultural project meant to grow
coffee on a grand scale. The resulting work
showcases a language and cinematographic
-
structivism: the mechanical repetition of
shots, unusual and choppy angles that
content and narrative work against the
propagandist intentions for which it was
commissioned, and create a counter-revo-
lutionary message.
part of French colonists in the nineteenth
century, and the exploitation of slaves
descended from Africa. Brief images of the
ocean’s waves are accompanied by frag-
ments of the renowned Cuban poem Un
gran lagarto verde [A Great Green Alligator]
(1958) by Nicolás Guillén, ending with a
disasters brought on by the industrial agri-
culture that the revolutionary government
insisted in implementing.
Coffea Arábiga · 1968 · Película de 16 mm Coffea Arábiga ·
transferida a video · 18 min. transferred to video · 18 min.

88 / 89
Juan Fernando
Herrán
Varias de las esculturas de este artista
temas complejos mediante materiales
no convencionales. Con esta estrategia
se ha acercado a asuntos como la
construcción de la identidad nacional
o la debilidad de los convenios civiles
acordados en nuestro territorio, para
ofrecer respuestas inesperadas o nuevas
asociaciones de sentido. Así mismo,
muchos de estos trabajos revelan su
intención de narrar la historia nacional a
través de extensos arcos argumentales.
Para Héroes Mil, Herrán retomó la
celebración de los dos centenarios de la
Independencia de Colombia, buscando
subrayar la persistencia del culto a la
muerte. Respecto al primero, retomó el
afán del gobierno por contratar la cons-
de un gran número de monumentos dedi-
- he turns to the advertising campaign Los
plimiento del proyecto republicano. En
relación con el segundo, volvió a la cam-
paña Los héroes en Colombia sí existen,
-
nes no asistían a los campos de batalla.
Con estos pedestales en madera
cruda, Herrán se aleja del recurso
de los proyectos gubernamentales de
construcción de consenso depende de
su reducido arraigo en una población
acostumbrada a ver con recelo esas
manifestaciones grandilocuentes y de
Se trata de estructuras de soporte
Several sculptures by this artist from
Bogotá have in common their use of
unconventional materials to confront
complex themes. With this strategy, he has
taken on subjects such as the construction
of national identity and the weakness of
civil agreements in our territory, in order
to offer unexpected solutions or new asso-
ciations of meaning. Many of these works
create extensive narrative arcs related to
Colombian history.
In Héroes Mil [A Thousand Heroes], Herrán
turns to the celebration of the bicentennial
of Colombian independence, underlining
the persistence of the cult of death. With
respect to the former, he portrays the gov-
ernment’s passion for commissioning the
construction, import, and installment of
a large number of monuments dedicated
to men who died in the creation of the
republican project. In relation to the latter,
héroes en Colombia sí existen [Heroes Do
Exist in Colombia], which intends to force
those who fought wars under the orders of
With these pedestals made from raw wood,
Herrán avoids a facile, caustic caricature
and instead indicates that the failure of
government projects aiming for the con-
struction of consensus depends on the
rhetoric on which they are based, on their
reduced impact on a population accus-
efforts with suspicion, and on the lack of
truth that sustains them. They take the
form of hollow support structures that
cannot bear any weight at all.
Héroes Mil · 2015 · Instalación A Thousand Heroes · 2015
3.2 x 2.4 x 2.4 m. Installation · 3.2 x 2.4 x 2.4 m.

90 / 91
Leonardo Herrera
El trabajo de Leonardo Herrera no
parte de una investigación emprendida
por la pura curiosidad de explorar la
dimensión estética de la cultura narco en
Colombia, ni es, tampoco, la indagación
drama humano desprendido de la acción
de los carteles. Es, por el contrario, el
despliegue de una historia personal,
la suya, llena de amigos muertos, de
vivir en medio de bombas y de aten-
tados a gente real y no a abstraccio-
nes del noticiero ni de la prensa.
Herrera creció en esos barrios de clase
Narc-Decó para
ahí vivían habían progresado a punta de
coronar empresas ilícitas y lucrativas.
Herrera se ofrece como producto de la
emergencia, del esplendor y de la caída
de una ciudad —y todo un mundo— arti-
Orejuela. Para hacerlo, el artista toma
posesión de su función histórica como
testigo, sobreviviente y narrador.
En obras como Isla blanco (2015), Ciudad
narco (2011–2016) y Coronamos (2013–
2016), todas presentes en este Salón,
Herrera explora dimensiones divergentes
de esa historia nacional, de una historia
ahora ser distinto a ese de los años 90.
-
minar las huellas de un acecho arraigado.
Leonardo Herrera’s exploration of the
aesthetic dimension of the narco culture in
Colombia is not research undertaken out
of pure curiosity. It is also not the anthro-
pological investigation of a specialist who
the human drama that emerges from
the actions of the cartels. It is rather the
unfolding of a personal story, his own, full
“jobs”, of living among bombs and attacks
on real people, and not the abstractions of
the press.
Herrera grew up in middle-class neighbor-
hoods that became Narco-Decó, as if to say
to the world that the families living there
had climbed their way to the top of illicit
and lucrative businesses. Herrera offers
himself as a product of the emergence, the
splendor, and the fall of a city, and in fact
an entire world, that sprung up around the
the artist takes possession of his role as a
witness, survivor, and narrator.
In the works Isla blanco [White island]
(2015), Ciudad narco [Narco-city] (2011–2016)
and Coronamos [We Crowned] (2013–2016),
all present in this Salon, Herrera explores
divergent dimensions of this national his-
tory, a narco-history that we naively believe
to have overcome, but that still palpitates
like an open wound in a country that now
considers itself different from the 1990s. It
is true that it is different, at least because
hide the traces of a deeply rooted threat.

1. Coronamos · 2013-2014 · Luces led de
navidad · 0. 7 x 7.9 x 0.1 m.
2. Isla blanco: 1. Toda búsqueda conlleva una
pérdida · 2015 · Instalación · 0.25 x 4 x 0,1 m.
Isla blanco: 2. El viejo · 2015 · Video: 1:36 min
3. Ciudad narco · 2016 · Tela cosida · 1.8 x 8 m
1.
2.
3.
1. We Made It · 2013-2014 · Led Christmas
lights · 0. 7 x 7.9 x 0.1 m.
2. Blanco Island: 1. Every Search Brings a Loss
2015 · Installation · 0.25 x 4 x 0,1 m. Blanco
Island: 2. The Old Man · 2015 · Video: 1:36 min
3. Narco City · 2016 · Sewed cloth · 1.8 x 8 m
92 / 93
Amadou Keita
Este fotógrafo originario de Mali (África
occidental) encuentra en imágenes de
elementos cotidianos sugerencias de otros
mundos. En Utensilios de mujer, Keita parte
de utensilios de cocina lavados y puestos a
secar al sol en la orilla del río Níger.
de una iconograf ía similar a la de contex-
tos rurales en Colombia y Latinoamérica,
remite al contexto del territorio africano
occidental en los detalles de los recipien-
tes o el tamaño de las ollas usadas para
alimentar familias de hasta 15 miembros
de las mujeres locales.
Tomadas a baja altura, las fotografías
sugiriendo, en algunas de ellas, la forma
de un barco transatlántico. Es una forma
y el fracaso del desarrollo económico y
del país —la falta de acueducto y la con-
taminación de los ríos—.
En la segunda obra presente en el Salón,
Marionetas Nocturnas, Keita retrata algu-
nas de las marionetas usadas en el género
teatral del Sogobo, una forma autóctona
reales y mitológicos.
escenas nocturnas de una ceremonia
en el Festival de Markala, enfocando su
cámara en las marionetas creadas para
negro y la ausencia de personas gene-
ren imágenes siniestras, lejanas de la
representación costumbrista.
This photographer, born in Mali (West
Africa), turns images of everyday object
into suggestions of other worlds. In Uten-
silios de mujer [Women’s Utensils], Keita
focuses on just-washed cooking utensils
that are drying in the sun, in the banks of
the Niger River.
Even though they recall the social prac-
tice and iconography of rural areas in
Colombia and Latin America, there is a
of rural West Africa in the details of the
members, which give visibility to the daily
efforts of African women.
composition, suggesting, in some images,
the form of a transatlantic ship. It is a
shape that, paradoxically, reveals the
poverty and the failure of the country’s
economic development infrastructure
the pollution of the rivers.
Keita’s second work in the Salon, Marion-
etas nocturnas [Night Puppets], portrays
some of the puppets used in Sogobo, an
indigenous form of theater practiced for
centuries that uses sculptures representa-
tive of animals both mythological and real.
In this photo-essay, Keita shows night
scenes of a ceremony in the Markala Fes-
tival, focusing on the puppets created for
theatrical pieces on the river. The deep
intensity of the color black and the general
absence of people create sinister images,
very distant from standard representations
of local customs.
 1.

2.

1. Utensiles de femme · Utensilios de mujer 1. Feminine Utensils · 2015 · Series of 9 black

2015 · Serie de 9 fotografías en blanco y and white photographs · each: 0.7 x 1 m.
negro c/u: 0.7 x 1 m.
2. Marionette Night · 2014 · Series of 9 black
2. Nuit de marionnette · Noche de marioneta and white photographs · each: 0.7 x 1 m.
2014 · Serie de 9 fotografías en blanco y
negro c/u: 0.7 x 1 m.

94 / 95
La Decanatura
Colombia, como los políticos fracasados,
- cians is that they always arrive late to their
pre llegan tarde a sus compromisos con
el futuro. Esta historia no se la inventó
el colectivo La Decanatura —compuesto
por los bogotanos Elkin Calderón y Diego
Piñeros—, pero nos la recuerda en su obra
Centro Espacial Satelital de Colombia ( · ) ( · ):
sinfonía-road movie agridulce.
Calderón y Piñeros hicieron varias pere-
grinaciones al Centro de Comunicaciones
Espaciales de Colombia, en el municipio
allí, antes de internet, el país le hablaba
verdaderamente importante, terminó
sufriendo el destino de la gran mayoría
- try’s indispensable sites after the mania
-
dora posgobierno César Gaviria.
arrullo
y despedida, Calderón y Piñeros elabora-
y acordaron con los integrantes de la
Banda Sinfónica Infantil de Chocontá
hacer la música para un video. Estos
dentro, serían los encargados de darle
- As stated by the artists, “the three elements
man los artistas, “entre los tres —antenas
obsoletas, niños talentosos y un entorno
sabanero, frío y melancólico— [se] evocará
un pasado glorioso, un presente agónico
y un futuro incierto”. Triste, pero hermoso,
como casi todo en la posmodernidad.
Colombia, like failed politicians, will never
fall behind. The problem with failed politi-
appointments with the future. Art collective
La Decanatura, which comprises Bogotá
artists Elkin Calderón and Diego Piñeros,
didn’t invent this history, but recalls it in the
work Centro Espacial Satelital de Colombia
(·)(·) [Colombian Space Satellite Center (·)(·)]:
a bittersweet symphony/road movie.
Calderón and Piñeros went on several pil-
grimages to the Colombian Center for Space
Communications, in the town of Chocontá,
Cundinamarca. Before the Internet, it was
through there that the country established
communications with the rest of the world.
The artists found that this center, which had
been a truly important site, suffered the
same destiny as the majority of the coun-
César Gaviria.
For a project that is at once homage, lullaby,
and farewell, Calderón and Piñeros prepared
delicate photographic compositions and
asked the members of the Youth Symphony
Orchestra of Chocontá to make the music
for a video. These musicians, between seven
the building from the inside, were charged
with providing it with a gesture of affection.
—obsolete antennas, talented children, and a
an uncertain future.” Sad, but beautiful, like
almost everything in postmodernity.
Centro Espacial Satelital de Colombia ( · ) ( · ) Space Satellital Center of Colombia ( · ) ( · )
2015 · Fotografía y video · 2 fotografías 1.5 x 2015 · Photograph and video · 2 photographs
1.8 m. · Video: 12:03 min. 1.5 x 1.8 m. · Video: 12:03 min.

96 / 97
LaMutante
Este proyecto opera hace más de una
década en la ciudad de Bucaramanga,
en los departamentos de Santander y
Norte de Santander. Busca alterar el
festivales de performance, iniciativas
editoriales, subastas de arte, ciclos de
conferencias, residencias artísticas o
participando en eventos instituciona-
les y comerciales de otras ciudades. Su
estrategia consiste en encontrar virtudes
en las carencias infraestructurales y
artísticos, para implementar modos de
En esta oportunidad plantean el desa-
rrollo de una plataforma de circulación
masiva de arte contemporáneo colom-
biano hacia ese territorio bajo la forma
de megaevento institucional: postulan
a Bucaramanga como sede del próximo
Salón Nacional de Artistas. Creo que hay
algo turbio en todo esto propone contem-
transformando el talante de ese proyecto
institucional, la necesidad de poner en
duda la extraña aspiración semiempresa-
Para lograrlo, presentararon su trayecto-
ria profesional como postulación abierta
- display documents obtained throughout
mentos obtenidos a lo largo del tiempo y
También estrenan un audiovisual donde,
apropiándose de la monótona retórica
su pretensión de incidir en los actuales
procesos de circulación de arte contem-
poráneo en los santanderes.
This project began more than a decade ago
in the city of Bucaramanga, in the
departments of Santander and North of
Santander, seeking to alter the local artistic
include performance festivals, editorial ini-
tiatives, art fairs, conference series, artistic
residencies, or participation in institutional
and commercial events in other cities. Its
scarcity of infrastructure and funding in
-
They are taking this opportunity to plan
the development of a massive platform for
the circulation of contemporary Colom-
bian art in their region, in the form of an
institutional mega-event: they propose
Bucaramanga as the site for the next
National Salon of Artists. Creo que hay algo
turbio en todo esto [I Think There’s Some-
thing Shady about all This] contemplates
the corporate logic that has transformed
the tone of this institutional project, the
-
neurial aspirations that have taken root
throughout the entire endeavor, and the
To achieve this goal, they presented their
professional background as an open
application in which they curate their work,
this process, and detail their most notable
achievements. They also premiered an
audiovisual work in which, by appropriating
the monotonous rhetoric of institutional
-
ence current processes of contemporary
art circulation in the “Santanders”.
Creo que hay algo turbio en todo esto I Think There’s Something Murky in All
2006-2016 · Instalación · Dimensiones This · 2006-2016 · Installation · Dimensions
variables Variable

98 / 99
Paulo Licona

- There is a horror that wants to be beautiful.

de hacer, pues no se trata de la does not address the beauty hidden in the
- representation of horror, but the horror
that, going beyond itself, strives for beauty.

There is a perverted sculptural presence

Hay un dispositivo escultórico perver-
tido en los rituales del dar muerte en
del machete, el cuchillo y la motosierra
- horror of the impossibility of giving a name
tan al horror desnudo de la imposibilidad
de dar nombre a las pilas de carne.
si no puede, no se debe a una carencia
sino, precisamente, a su exceso.
En tanto órdenes en constante constitu-
ción, hay rituales de comunión también
implicados en esa producción de horror.
Estos rituales de comunión son, vistos
de su interior roto caen dulces y juguetes
in the rituals of killing in Colombia that is
the knife, and the chainsaw, which create
shapes ranging from the rooster cut to a
mound of heads piled up on the edge of a
road, and which confront us with the naked
Horror is not art, but it would like to be. And
if it cannot, it is not for a lack of something,
but precisely because of its excess.
As orders that are constantly reconstituted,
communion rituals are also implicated in
this production of horror. These communion
-
lent to the children’s piñata, a hanging body
collectively beaten until treats and toys fall
from its broken insides, which are gathered
by the children as a promise of happiness
and a proof of belonging: “I was there too.”

“Muñecos” [dolls] and “morracos” are just

two of the names given to corpses. One may
pertenencia: “yo estuve ahí también”.
ask in what sense a playful dimension is
“Muñecos” y “morracos” son apenas dos present. How have we arrived at this hybrid-

cadáver. Cabría preguntarse entonces por

where we play with the two categories as if
está ahí presente. ¿Cómo llegamos a esa they were one?
hibridación de la persona y el muñeco?
¿Cómo se dio ese proceso de igualación

dos categorías como una sola?

H.H. hermoso horror TODOPIPAS HH. H.H. Handsome Horror TODOPIPAS HH.
VOLUMEN.0 · 2016 · Piñatas · Dimensiones VOLUME.0 · 2016 · Piñatas · Dimensions
variables · 6.9 x 5.7 x 10 m. Variable · 6.9 x 5.7 x 10 m.

100 / 101
Colectivo Maski
El proceso de investigación del Colectivo
Maski indaga constantemente en la
las ciudades latinoamericanas. En la obra
Anuncios
de Donato, José y Javier García, usada en
varias publicaciones dedicadas a promo-
cionar la ciudad de Pereira. El colectivo
la representación de nuevas formas de
paisaje evidencia una calidad de vida
como elemento básico de la cotidianidad.
En una de esas tomas se ve cómo la calle
8, en algún momento de la década de 1960,
se adornaba con anuncios de tipograf ías
metálicas y luces de neón promocionando
una decisión burocrática posterior clasi-
- current residents of Pereira understand, use,
ción visual, el colectivo decide observar la
- merce operates as a universal axis or as a
su espacio público, así como el modo en
-
sal o elemento desestructurador.
hace 50 años el dinamismo de la vida
pública del centro de la ciudad de Pereira
podía leerse “en el esplendor de los
anuncios eléctricos, [de la misma manera
-
junto complejo de mercaderías, comidas
[una] condición urbana” bastante especial.
Colectivo Maski’s research process con-
the infrastructure of Latin American cities.
In Anuncios [Advertisements], they investi-
gate the photographies of Donato, José, and
Javier García in various promotional mate-
rials for the city of Pereira. The collective
found that these images portray the urban
development as a new form of landscape
that showcases a style that sought to ele-
vate the urban street to a basic element of
daily life.
In one of the shots, taken at some point
during the nineteen-sixties, 8th Street
appears full of advertisements done in a
metallic typography and with neon lights
later bureaucratic decision determined that
this constituted visual pollution, the col-
lective decided to observe the way in which
and represent public space, and how com-
dismantling agent.
For this collective, it is possible to note
the center of Pereira could be seen “in the
splendor of the electric ads, [just as it now]
circulates among a complex of merchandise,
food, and services that represent the spec-
trum of activities that ultimately produce [a
special] urban condition.”
 1.

2.

1. Anuncios · 2016 · Intervención en la calle 17 1. Signs · 2016 · Public intervention in 17 th

con carrera 8 ·Medidas variables. street and 8 th avenue · Measures variable.
2. Nominal · 2. Nominal · 2016 · Intervention at the former
Antiguo Club Rialto · 3.6 x 0.8 m. Club Rialto Building · 3.6 x 0.8 m.

102 / 103
Colectivo Miraje
y las artistas María Clara Arias y Lucille
de Witte, este colectivo inició en 2013 la
Marte, un terreno desértico ubicado en
el municipio boyacense de Sutamarchán.
A partir de la iniciativa original de
Arias de transformar ese lugar en un
Miraje encuentra
árboles plantados por él demuestra
universo real las nociones de patrimonio
inmaterial y tecnología primitiva.
En su participación para AÚN 44SNA, el
colectivo propone A largo plazo, un com-
pendio de actividades basadas en la recu-
peración de estrategias deliberadamente
obsoletas. Por medio de la reimpresión
y lectura de la revista de protección de
recursos naturales Naturaleza Hoy, o de
la toma de apuntes en troncos de madera
elevados sobre ruedas, cuestiona el con-
cepto de sostenibilidad ambiental com-
prendido en clave de discurso humanista.
La obra pone en perspectiva los distintos
implementado no solo en Marte, sino tam-
del país como reservas naturales o en
la fundación de centros de preservación
de manatíes. Tanto Arias como los otros
subyace un impulso determinado por la
puesta a punto de decisiones personales
- of “a singular effort built on immanent
- potential and militant optimism.”
ca. En sus palabras, desde Marte se puso
construye alrededor de la potencialidad
inminente y el optimismo militante”.
This collective, composed of the chemist
Hernando Arias and the artists María Clara
Arias and Lucille de Witte, began in 2013 to
barren area located in the town of Suta-
marchán, Boyacá. Since Hernando Arias’
original attempts to transform the area into
a forest in 1975, Miraje found that the pro-
gressive death of the 55,000 trees planted
notions of intangible heritage and primitive
technology to the real world.
In its contribution to AÚN 44SNA, the col-
lective proposes A largo plazo [In the Long
Run], a compendium of activities based on
the recuperation of deliberately obsolete
strategies. Through the reprinting and
reading of the conservationist publication
Naturaleza Hoy [Nature Today], or the notes
written on the trunks of trees raised on
environmental sustainability as understood
within humanist discourse.
The works puts into perspective the distinct
modes of action that Arias has implemented
not only through Marte, but also through
country as natural reserves, as well as the
creation of centers for the conservation of
manatees. Arias and the other members of
the collective know that underscoring these
actions is an impulse that depends on per-
sonal decisions that, over decades, have
attained a complex socio-political dimen-
sion. In his words, Marte was the beginning
A largo plazo 1: Naturaleza hoy · 2016 On Long Term 1: Nature Today · 2016
Instalación · Dimensiones variables Installation · Dimensions Variable
Área: 2.4 x 4 x 4 m. Area: 2.4 x 4 x 4 m.

104 / 105
Rabih Mroué
Je veux voir (2010)
Pude haber sido con cualquier nombre
Pude haber sido apenas un
número sin nombre
Pude haber sido una persona que
existe en una obra de arte
Pude haber sido una imagen o el guion
de una secuencia de una película con
estructura narrativa
Pude haber estado en cualquier punto a
cualquier hora si Catherine no hubiese
gritado mi nombre dos
veces, ¡Rabih! ¡Rabih!
En el año 2008, los directores de cine
Joana Hadjithomas y Khalil Joreige reali-
Je veux voir
dos historias paralelas: la de la recono-
-
tando la historia del Cine francés, y la de
Rabih Mroué, representando la historia
de artistas, cineastas e intelectuales en
estos personajes en un viaje en carro a
Bint Jbeil, el pueblo natal de Mroué, al
atacó el sur del Líbano en 2006.
- can see the bombing of the streets of that
película y consiste en una imagen amplia-
calles del pueblo libanés bombardea-
do. Un paisaje en guerra en medio del
espacio expositivo acompañado de dos
videos: en uno, Catherine Deneuve deam-
bula entre las ruinas del pueblo, en el
otro aparecen imágenes de casas destro-
-
Je veux voir [I want to see] I could have
been with any name.
I could have been merely a number with
no name.
I could have been a persona, which exists
in a work of art.
I could have been an image or a plot in a
I could have been in any location at any time,
if Catherine had not shouted out my name
twice, Rabih! Rabih!
In 2008, the directors Joana Hadjitthomas
Je veux
voir, which tells two parallel stories: that
of the famous actress Catherine Deneuve,
representing the story of French cinema,
and that of Rabih Mroué, representing
the encounter between them on a car trip
to Bint Jbeil, the town in Lebanon where
Mroué was born, and one that he hadn’t
visited since Israel’s attacks on southern
Lebanon in 2006.
Years later, Mroué created an installation of
Lebanese town. It is a landscape of war in
the midst of the exhibition space, accom-
panied by two videos: in one, Catherine
Denueve wanders through the ruins; in the
other, images of destroyed houses with
numbers grafftied on their façades can be
seen, perhaps suggesting the number of
people who used to live there.
 1.

2.

1. Je veux voir / Quiero ver · 2010 · Instalación 1. I Want to See · 2010 · Installation
Fotografía: 1.5 x 7.36 x 0.33 · 2 videos: 21 min. Photograph: 1.5 x 7.36 x 0.33 · 2 videos: 21 min.
Cortesía Sfeir-semle Gallery, Hamburgo-Beirut Courtesy of: Sfeir-semle Gallery, Hamburg-Beirut
2. 2014 · Video: 18 min. 2. On Three Posters · 2014 · Video: 18 min.

106 / 107
Ricardo Muñoz
Izquierdo
Investigando diversas iconografías
tramas narrativas en sus videos y dibu-
jos, este artista pereirano ha logrado
construir un lenguaje particular de
amplia recordación. Los resultados de su
trabajo oscilan entre la escatología, la
y la autobiografía, para proponer un sur-
la cuenca del río Otún. A través de sus
proyectos se comprende de otro modo
este Paisaje cultural, poniéndolo como
Postulando una particular metodolo-
técnicas sin agotar los logros de cada
una. Sus proyectos van del arte urbano
a la experimentación sonora, del dibujo
a la animación, de la serigraf ía al fan-
performance a la dirección de arte; y
viceversa. En 2014 estrenó Las moscas
también duermen
demostró su facilidad para convertir ese
amplio número de respuestas en cuida-
Nacional propone La oreja hueca de la
montaña y tres cuentos denigrantemente
cortos, drama psicodélico en formato
televisivo. Para ampliar la profundidad
de su postulado elige un personaje como
hilo conductor. El actor debe circular en
son próximos sin preocuparse por satis-
facer expectativas alegres.
By researching diverse visual iconographies
in order to produce sophisticated narratives
in his videos and drawings, this Pereiran
vivid language. The results of his work
oscillate between scatology, violence, the
sacred, erotic crudity, and autobiography,
and propose a surrealism that gives shape
to the emotional climate in the environs of
the Otún river basin. His projects bring a
new understanding to the Paisaje cultural
[Cultural landscape], proposing a scenario
of troubling hope.
By developing a particular methodology
projects range from urban art and sonic
exploration, to drawing and animation,
sculpture, progressing from performance
into art, and vice-versa. In 2014 he debuted
Las moscas también duermen [Flies Also
Sleep], in which he demonstrated his
ability to turn this broad variety of meth-
ods into meticulous audio-visual pieces.
For this National Salon he proposes La
oreja hueca de la montaña y tres cuentos
denigrantemente cortos [The Crooked
Ear of the Mountain and Three Insultingly
Short Stories] a psychedelic drama in a
televised format. To increase the depth
of his method, he established a charac-
ter as a common thread. The actor must
move in a territory that is more longshot
than landscape, and recuperate the
themes close to him without worrying
about the satisfaction of happy expectations.
La oreja hueca de la montaña y tres cuentos The Crooked Ear of the Mountain and Three
denigrantemente cortos · 2016 · Videoarte Insultingly Short Stories · 2016 · Videoart
8:46 min. 8:46 min.

108 / 109
Román Navas
Henry Palacio
En la universidad, Palacio y Navas
hicieron juntos su proyecto de grado, un
ejercicio de deambular, de recolección
de cartones, palos y otros materiales
abandonados, y de construcción de
—allí donde se les hiciera tarde— para lue-
go dejar a su suerte en la mañana.
a pesar de la precariedad y la prisa,
siempre hubo un ejercicio de diseño, una
generar dispositivos para la vida. Luego
vinieron construcciones de casas-carreta,
mobiliario y toda una cuadra de tugurios
en un museo. Los artistas, también
un día juntar el interés por la calle, la
bicicleta y la experiencia de vida.
Así, entraron como aprendices a una
suyo propio. Cuando estuvo listo, hicieron
también un tándem y pusieron en prácti-
ca un proyecto en principio ridículo: viajar
de Bogotá a Buenaventura pedaleando
esa bicicleta para dos y remolcando un
mar y dejarlo perder en la distancia.
La instalación 516,3 Kilómetros por mar
presenta los residuos de esa peripecia:
impulso propio, y los fragmentos de his-
torias apenas visibles en una película
expedición épica y concebida de la única
Palacio y Navas puede darse: yendo a perder.
Palacio and Navas did their undergraduate
thesis together. It consisted of the practice
of going on walks to collect cardboard
boxes and other abandoned materials, and
of constructing shacks where they slept,
wherever they happened to be when
night fell, only to leave them to their fate
in the morning.
Henry and Román’s shacks were not made
without care; despite their precarious and
hurried construction, they were conscien-
is and how to create useful objects for
living. Later they built mobile homes, fur-
niture, and an entire block of a shantytown
in a museum. The artists, also avid cyclists
and teammates in a cycling club with no
other members, decided one day to com-
bine their interests in the streets, bicycles,
and in fully experiencing life.
They became apprentices in a boat factory,
where they sharpened their rudimentary
knowledge to build their own. When it was
ready, they also built a tandem bicycle and
put into practice a project that might seem
ridiculous: to pedal from Bogotá to Bue-
naventura while towing a small boat, with
the plan to push it into the sea and let it
drift into the distance.
The installation 516,3 Kilómetros por mar
[516.3 Kilometers by sea] presents the
remnants of this journey: the bicycle, which
continues to roll on, and the fragments of
that gives an account of an epic expedition
conceived in the only way that an under-
taking by Palacio and Navas could: as a
journey towards loss.
513.5 km por mar · 2015 · Instalación 513.5 km by Sea · 2015 · Installation
Dimensiones variables · 2.4 x 5.4 x 8.8 m. Dimensions Variable · 2.4 x 5.4 x 8.8 m.
Video: 80:30 min. Video: 80:30 min.

110 / 111
Juan Obando
La circulación del artista bogotano Juan
Obando entre los sistemas culturales de
Estados Unidos y Colombia le ha permiti-
do constituir una plataforma de observa-
ción de particularidades comportamen-
tales. A través de experimentos sociales
de baja intensidad, aplicados durante
lapsos de tiempo regulados, encuentra
la aparente seriedad retórica de algunas
actitudes no depende tanto de su lugar
de origen como de su contexto.
The Nationals es una videoinstalación
ha sido objeto la ciudad de Medellín
durante la última década. Como si fuera
el más ansiado sueño de un político
colombiano promedio, Obando graba
integrado exclusivamente por migrantes
- to grow in number as the game goes on.
llinense Nacional y van incrementándo-
encuentro. Por su parte, los contendien-
tes nativos se limitan a verse desborda-
dos mientras su hinchada grita “Go, green
go!”. En las pausas del juego, aparece
publicidad alusiva a comercios de la ciu-
dad cuyo idioma base es el inglés.
Esta obra relee los patrones de esta
especial recolonización
de Colombia, donde hombres blancos de
de origen, vienen a asentarse con la idea
de vivir, , su noción del paraíso. Del
mismo modo, la obra examina las actitu-
hospitalidad de servilismo, orgullo local
de celebración/ansiedad por obtener la
aprobación del visitante foráneo.
Bogotá-born artist Juan Obando’s shifts
between the cultural systems of the United
States and Colombia have given him a
of conduct. Through low-intensity social
experiments, applied in regular inter-
vals, he has found that the contradiction
between the apparent rhetorical serious-
ness of some attitudes depends less on
their place of origin than their context.
The Nationals is a video-installation that
wave of migratory tourism to which the city
of Medellín has been subjected during the
last decade. In a scene that might appear
in a typical Colombian politician’s wildest
fútbol 5 match (an
informal variety of soccer with 5-player
teams) in which one team is entirely com-
posed of migrants wearing the jersey of
the Medellín team, Nacional, who continue
For their part, the opposing native team
“Go, green go!” During the pauses in the
match, advertisements allude to commer-
cial establishments in the city whose base
language is English.
This work reinterprets the pattern of this
special recolonization of several areas of
Colombia, in which middle-class white men,
rejected in their places of origin, come to
settle with the idea of living, , their
notion of paradise. In the same vein, the
piece examines the attitudes of Colom-
bians who, at times, do not separate
hospitality from servility or local pride
from the celebration of/yearning for the
approval of the visiting foreigner.
The Nationals · 2016 · Video instalación The Nationals · 2016 · Video installation
Dimensiones variables · 1.77 x 2.4 x 1.6 m. Dimensions Variable 1.77 x 2.4 W x 1.6 m.
Video: 40 min. Video: 40 min.

112 / 113
Mario Opazo

The bread
Los panes
The mouths
Las bocas
all leave.
se van.
The books roll thickly
Los libros ruedan densos
just like dead doves
como palomas muertas
they slip and fall along with your socks
-
como palomas muertas just like dead doves

suenan sordos junto a la alfombra

como palomas muertas just like dead doves
they’re consumed along with the cigarettes
se consumen junto a los cigarros
como palomas muertas just like dead doves
you’re still in the catastrophe

y escribes: and you write:

“como palomas muertas” “just like dead doves“

Mapa mudo · 2016 · Intervención escultórica Mute Map · 2016 · Sculptural intervention
3 x 8 x 3.8 m. 3 x 8 x 3.8 m.

114 / 115
Grupo Otún
Ubicándose en el punto de cruce
entre Pereira y el Paisaje Cultural
Cafetero, el proyecto Río escultor de
piedras, del Grupo Otún, subraya los
acervo cultural de esta región desde
la perspectiva exclusiva del turismo.
proyecto destaca el lugar privilegiado
del contexto donde decidieron ubicarla
para recuperar su vivencia es necesario
acercarse a él “y sus habitantes, [ubicán-
dose] fuera del museo y otros espacios
desde el centro de la ciudad cuestiona
nuestra extraña actitud de habitantes
componentes vitales para la existencia de
nuestras insostenibles aglomeraciones
estratégica de la sede de la obra, pues
del barrio Zea un epicentro de varios pro-
cesos de acercamiento de la práctica cul-
tural hacia nuevas comunidades; y recupe-
ran la forma como ha sido representado
Pereira, compuesto
Adoptando una actitud de humildad
Grupo Otún propone entenderla como
resultado de una labor de coautoría.
el devenir del río el responsable de la
verdadera creación, se postulan como
-
ra, para ofrecerlas de nuevo al público.
Located in the crossroads between Pereira
and the Coffee Cultural Landscape, the
project Río escultor de piedras [River Sculp-
tor of Rocks], by Grupo Otún, underscores
the error of exploiting the cultural heritage
of the region through the exclusive per-
spective of tourism.
-
lights the special location where the work
relation to its river on four levels: they
state that to relive their experiences, it is
necessary to get close to it, “and its inhab-
itants, [locating it] outside of the museum
and other exhibition spaces”; they insist
that seeing the river from the city center
as city dwellers that turn our backs to
these vital components of our unsus-
tainable urban conglomerations; they
take advantage of the work’s strategic
location to identify the House for Com-
munal Action of the Zea neighborhood
as an epicenter of cultural practice that
has helped form new communities; and
they recuperate the representation of
this course of water by referencing the
bambuco song Pereira, composed and
Adopting an attitude of humility in the
creation of the work, Grupo Otún under-
stands it as the result of a collaborative
practice. In light of the fact that it is the
river that is truly in charge of this creation,
they put themselves forth as coauthors of
the images they generate, in order to offer
them to the public.
Río escultor de piedras · 2016 · Instalación River Sculptor of Stones · 2016 · Installation
Dimensiones variables · 2.5 x 5.7 x 8.2 m. Dimensions Variable · 2.5 x 5.7 x 8.2 m.
Sound piece: 3:17 min · Credits: Recording,

Guacharaca Estéreo) · Voice: Paula Arcila

Paula Arcila · Composición, bandola, tiple y Composition, mandolin, tiple and guitar:
guitarra: Daniel Cardona Daniel Cardona

116 / 117
Prabhakar Pachpute
sentirse ser una montaña vacía?
La minería ha llevado al consumo de
recursos y, con ello, a diferentes formas
montaña de Marmato, Caldas, donde gran-
- big multinational companies, hoping to
-
mientos de poblaciones dependientes de
la minería artesanal. En América Latina,
casos como la mina de oro abandonada
de Serra Pelada, en el norte de Brasil,
son ejemplo de la devastación social y
ambiental la minería en gran escala.
En Colombia, las protestas ante las
injusticias sociales de la minería han
sido sistemáticamente reprimidas por el
Estado y el paramilitarismo, como en el
en 1982, donde se ligaban los intereses
caso del oro en Marmato, Pachpute iden-
derechos y resisten las presiones de las
compañías y del gobierno, una muestra de
un colectivo en lucha.
En el Jiu Jitsu, arte marcial japonés, la
llave Mount-Escape es la técnica de lucha
forma aparentemente dominante, por su
rival logra escapar. En su mural in situ,
Pachpute dibuja esta batalla para repre-
sentar a los mineros, los activistas, como
sus derechos entre el vacío de la montaña.
What does it mean to disappear? How must
a hollowed out mountain feel?
Mining has led to the consumption of natu-
ral resources and, with it, to different forms
of destruction. That is what has happened
in the mountain in Marmato, Caldas, where
have displaced the local inhabitants who
live by artisanal mining. In Latin Amer-
ica, cases like the abandoned gold mine
examples of the social and environmental
devastation caused by large-scale mining.
In Colombia, protests against the social
injustices caused by such mining have
been systematically repressed by the State
and paramilitaries, as happened in the
where political interests were linked to
the economic ones of the multinational
which controlled gold-mining there. In the
case of gold in Marmato, Pachpute came
and resisting the pressures of big compa-
nies and the government, an example of
activism which strengthens a social body
engaged in a collective struggle.
In Jiu-Jitsu, the Japanese martial art, the
dominated by another who sits on him,
turns the opponent’s power against him.
In the in-situ mural included in the Salón,
Pachpute draws this battle to represent
miners and activists as a powerful social
hollowed-up mountain.
Escape de la montaña · 2016 · Acrílico, Mount Escape · 2016 · Acrylic, charcoal and
carboncillo y pastel sobre pared · 6.5 x 12 m. pastel on wall · 6.5 x 12 m.

118 / 119
Fabio Melecio
Palacios
Los trabajos de Fabio Melecio Palacios
integran problemática social y maestría
- cult situation that the working class began
tar la clase trabajadora a partir de la
en desuso o invitando a corteros de caña
a participar. En obras como Trapiches
retorna a ese tema sin aludir a modos de
sino trasladando directamente a la
sala de exposición los resultados de su
labor como empleado de una empresa
poliestireno expandido.
Este trabajo le sirve para recordar la
acción de personas ajenas a su actividad.
Sin embargo, a la astucia de poner cada
uno de esos falsos ingenios construidos
estaban originalmente destinados, añade
su intención de referirse al entorno
-
te la inestabilidad económica por parte
El artista aplica su conocimiento de pri-
mera mano sobre ese tipo de actividades
sector es objetivo de los intentos de
- are generally seen as subjects gifted with
él son generalmente contemplados como
sujetos dotados de potencia estética. La
The works of Fabio Melecio Palacios
integrate social problems and masterful
-
to face in the 1990s by using tools that had
fallen into disuse and inviting sugarcane
workers to participate. In works such as
Trapiches [small mills or presses used to
process products such as sugar cane or
olives] he returns to this theme without
alluding to the means of sustenance of
particular populations, but by directly
displaying the results of his labor as an
employee of a company that manufactures
objects of expanded polystyrene.
This work documents the condition of art-
ists, who, like any other workers, depend
on the actions of people who have nothing
to do with their activities. However, with
his ability to put each of these false, built-
to-scale inventions in a place for which
they were not originally destined, he refers
to a context much more unsettling than
that of precariousness. Although they are
beautiful, his mills don’t allow us to forget
that those who operate them every day
economic instability.
of this kind of activity to reiterate that its
informality makes it the subject of regula-
tion that seeks to take it out of operation,
and that, in addition, those who work in it
aesthetic potential. The work reminds us
that this kind of machine still holds the
the object of homage.
Trapiches · 2015 · Esculturas en poliestireno Trapiches · 2015 · Sculptures in expanded
expandido · 5 esculturas · Área: 1.5 x 9.6 polyestyrene · 5 Sculptures · Area 1.5 x 9.6
x 6.2 m. x 6.2 m.

120 / 121
Jorge Panchoaga
- that encompasses the administrative
medios de construcción de consenso sobre
Panchoaga, antropólogo, hace un inven-
tario de cómo radio, prensa y televisión
transmiten una imagen de constante
su trabajo no deja de recordarnos— existe
una población resistente, fuerte y altiva,
En La casa grande, el artista acude a
la memoria de su abuelo, Rosendo
niño en las montañas de ese territorio y
de criar. Así, moviéndose en medio de dos
familias ubicadas en una extensión mayor
a la de una única vivienda, este abuelo
creó una nueva geografía emocional
reconstruir en su obra.
Este trabajo plantea una constelación
narraciones, ramas genealógicas y límites
- geographical demarcations through the
capitales departamentales ni sus formas
de representación política. De esta manera,
Panchoaga le da nueva forma a un entorno
donde son fundamentales algunos modos
como la comunidad, la casa, la familia, la
herencia cultural y la necesidad sentida de
un territorio para vivir.
Jorge Panchoaga approaches the territory
convention of the department of Cauca
of the mainstream media narrative about
the political strength of its inhabitants.
Panchoaga, an anthropologist, has
conducted an inventory of the way in
which radio, press, and television media
transmit images of constant instability
let us forget, the population, engaged in
resistance, is strong, proud, and perfectly
aware of its roots.
In La casa grande [The big house], the
artist turns to the memory of his grand-
father, Rosendo Panchoaga, who was
lost as a child in the mountains of that
region, and was taken in by a family who
families located in a greater extension
than a single home, the grandfather cre-
ated a new emotional geography that his
grandson would reconstruct years later
in his work.
This piece takes the form of a psychic
constellation that brings together travel,
memory, narration, family trees, and
experimental use of various photographic
of the subtle bonds unchanged by the
-
ment capitals and their forms of political
representation. In this work, Panchoaga
-
tion that have fallen into disuse, such
as community, home, family, cultural
heritage, and the deeply felt need for a
territory to inhabit.
La Casa Grande · 2013 · 3 Fotografías: 0.75 x 1.1
m. 1 fotografía: 1.1 x 1.6 m. Impresión a color
en vinilo adhesivo: 2 x 3.9 m. Impresión blanco
y negro en vinilo adhesivo: 2 x 3.8 m. · Video:
11:32 min.
The Big House · 2013 · 3 photographs: 0.75
x 1.1 m. 1 photograph: 1.1 x 1.6 · Color print
on vinyl: 2 x 3.9 m. Black and white print on
vinyl: 2 x 3.8 m. · Video: 11:32 min.
122 / 123
Juan Peláez

-
do en Medellín, integra las representacio- -

America without understanding what they

encountered, with stereotypical images of
the bodies of pop culture stars. In Ewaipa-
estereotipo de los cuerpos de estrellas noma (James Rodríguez)
del espectáculo. En Ewaipanoma (James
Rodríguez)
- recuts the original photograph, placing the
eyes and nose on the torso and amplifying
y le aplica el procedimiento de recortar the scale of the photograph. Moreover, the
seductive pose reiterates the status of
en el torso y ampliar su escala. Además,
la pose seductora reitera su carácter de
This work, which unites power, propaganda
objeto de deseo nacional.
and consumption, shows that we base our

replaced, he will no longer be an archetypal

nuestra identidad apoyados en valores
transitorios: a James le aparecerá reem-
-
pica y encontraremos otro héroe en el
piélago de la industria cultural. Desde la
eran en realidad monstruos ideados
will rise from the culture industry. From
with this dynamic is that the Ewaipanomas
were monsters developed to transmit the
terror that an unknown continent’s terrain
inspired in the recently arrived, and which
they could only describe as savage.

In the words of the critic Thomas Bettridge,

la orograf ía de un continente inédito al

appeal of the celebrity of monsters, or

denominar como salvaje.
maybe the monstrous nature of celebrity.”
En palabras del crítico Thomas Bettridge, This dynamic becomes evident in the act of
- eliminating the head of a new man: if you
tivo de la celebridad de los monstruos, o remove the head, he does not have reason,
and can be better dominated.
celebridad”. Esta dinámica se hace evi-

la representación de un hombre nuevo: si

puede dominar mejor.

Ewaipanoma (James Rodríguez) · 2016 Ewaipanoma (James Rodríguez) · 2016
Billboard · 7.5 x 3 m.

124 / 125
Linda Pongutá
La producción escultórica de la artista
Linda Pongutá depende de las acciones
tras la implementación de la política
neoliberal en Colombia. Después de
gestionar su ingreso a la infraestructu-
reintroduce actividades laborales para
producir objetos difícilmente transables.
Allí cumple con jornadas estándar, se
de secciones enteras, repara y reconstruye
consolidado un inventario de absurdas
intervenciones tridimensionales.
20 kilómetros
de distancia
de los fragmentos de un tronco talado
Telecom. Luego de su traslado, Pongutá lo
reconstruye hasta lograr una escala natural,
paradoja material de todo el procedimiento.
Superando los efectos del salvajismo desa-
tiempo se cuela a través de intersecciones
revelar la obsolescencia de cada elemento.
Un árbol muerto, ensamblado con pasta
- impotence of human activity in the face of
sentar simultáneamente la impotencia de la
actividad humana frente a los ciclos natura-
les y la necesaria revisión de las tomas de
sí mismas las semillas de su fracaso.
The sculptural production of the artist
Linda Pongutá depends on actions car-
ried out in buildings abandoned after the
implementation of neoliberal policies in
Colombia. After entering the infrastruc-
reintroduces labor to the sites and pro-
duces objects that resist being traded on
the market. She complies with standard
working days, schedules the cleaning and
recuperation of entire sections, and repairs
and reconstructs usable furniture. At the
end, she consolidates an inventory of
absurd three-dimensional interventions.
Located in between the objet trouvé,
20
kilómetros de distancia [20 Kilometers of
Distance] begins with the discovery of
fragments of a tree trunk near the Tele-
com building. After it was moved, Pongutá
rebuilt it in a natural scale, restricting
herself to cement as a paradoxical mate-
rial for the entire process. Going beyond
the effects of the savagery of development,
seeps in through material, architectural,
and urban intersections to reveal the obso-
lescence of each element.
A dead tree, put together with industrial
paste that hardens upon contact with
the air (and that gives the appearance of
solidity when necessary) and that is reas-
sembled each time it is exhibited, allows
the simultaneous representation of the
natural cycles and the necessity to recon-
sider taking sides, in order to understand
that they contain within them the seeds of
their own defeat.
20 kilómetros de distancia · 2014 · Técnica 20 Kilometers Away · 2014 · Mixed
mixta: ramas de árbol, cemento, varillas media: tree branches, cement, iron bars
Dimensiones variables · 2.4 x 5.6 x 5.1 m. Dimensions Variable · 2.4 x 5.6 x 5.1 m.

126 / 127
Gala Porras-Kim
construye este 44 Salón Nacional de
Artistas es la de poner en evidencia las
- tence. Gala Porras-Kim embodies many
torios. Gala Porras-Kim encarna muchas
de esas tensiones y las pone en juego
para hablar de la geograf ía, de la memo-
ria, de la pertenencia a un lugar y de una
economía general de la presencia.
De padre colombiano y madre coreana,
Gala debió exiliarse junto a su familia
cuando tenía once años. Radicados
en Los Ángeles, Gala creció como
la nacionalidad estadounidense. En los
Estados Unidos se formó como artista
- and forms of communication in vulnerable
mentos para intentar traducir memorias,
palabras y formas de comunicación
en entornos culturales vulnerables. Si
bien el trabajo de Gala indaga sobre los
mecanismos de construcción de valor
en la geograf ía cultural de territorios
extrañamiento donde los restos de una
-
de toda referencia cultural.
En Paseando por proxy, Gala Porras-Kim
recoge la imposibilidad legal de atender
a una invitación de residencia artística en
Colombia. Lo hace a partir del garabateo
de mapas y recuerdos deshilvanados de
en el país, para luego recorrerlos hoy a
través del Street View de Google Maps.
Así, un ejercicio de desdoblamiento surge
la imposibilidad de la presencia y el
One of the premises of the 44th National
Salon of Artists is to expose the tensions
that bring new territories into exis-
of these tensions, which she puts into
play to speak about geography, memory,
the sense of belonging, and a general
economy of presence.
Born to a Colombian father and a Korean
mother, Gala went into exile along with
her family when she was eleven years old.
Gala settled in Los Angeles and grew up as
a Colombian who never aspired to be an
“American” from the United States. In the
U.S., she became an artist and developed a
process that uses linguistics and archeol-
ogy as tools to translate memories, words,
cultural environments. Gala’s work is an
investigation into the mechanisms of the
construction of value in the cultural geog-
raphy of territories, but it is also a space of
estrangement where the remains of culture
emerge as narratives about places that
exist outside of any cultural reference.
In Paseando por proxy [Visiting by Proxy],
Gala Porras-Kim portrays the legal impos-
sibility of attending an artist residency in
Colombia to which she was invited. It is
depicted through scrawls on maps and
disjointed memories of places that she
used to visit in her childhood, only to
return to them today through Google Maps
Street View. In this work, an exercise in
rupture emerges from the tension between
the impossibility of her presence and the
undertaking of a virtual visit with the inten-
tion of being here with us.
Paseando por proxy · 2016 · Instalación · Visiting by Proxy · 2016 · Installation · Google
Google map, tinta sobre papel · 6 dibujos 21.6 x map, ink on paper · 6 drawings: 21.6 x 27.9 cm
27.9 cm cada uno · Video: 90:42 min. each · Video: 90:42 min.

128 / 129
Ernesto Restrepo
Morillo
Desde hace un cuarto de siglo este artista
monteriano viene produciendo una cosecha
las consecuencias del encuentro accidental
de América por parte de los primeros
europeos modernos. Al usar la papa como
tubérculo sirvió para complementar la dieta
alimentadas— al continente, con el interés
- exclusive goal of erasing its original cul-
escenarios, este proyecto ha incorporado
de las progresivas crisis y transformacio-
nes de la economía y del mercado hasta la
-
tionamiento al colonialismo, ahora es un
conjunto de lecturas cuidadosas aplicadas
al fracaso (o éxito, depende como se mire)
Comercio en países como el nuestro.
En su más reciente versión, Cerrado
(sellado) por especulación plantea una
distribución igualitaria se impone sobre un
proceso de especulación. Restrepo propone
licencia de operación a un establecimien-
to para aludir a varios de los problemas
aspiraciones de la economía neoliberal:
cooptación de mercados y productos natu-
rales de diferentes territorios, disminución
de soberanía alimentaria, destrucción de
biomasa y monopolio comercial.
Montería has produced an annual har-
-
covery of the Americas by early modern
Restrepo reminds us that this tuber sup-
plemented the diet of the generations that
came to this continent, better fed than
they otherwise would have been, with the
tures and appropriating their wealth.
As it has been shown in a number of
different contexts, Restrepo’s work has
progressive crises of transformations of
the economy and the market up to the
colonialism is now a collection of care-
ful arguments concerning the failure (or
success, depending on how one views it)
-
ments in countries like ours.
In its most recent version, Cerrado (sel-
lado) por especulación [Closed (Sealed)
Due to Speculation] tells a story with a
happy ending in which egalitarian modes
of distribution are imposed on the pro-
cess of speculation. Restrepo proposes a
scenario in which a company’s operating
license is cancelled, alluding to the prob-
lems that result from the blind adoption of
the aspirations of neoliberal economy: the
coopting of markets and of natural prod-
ucts from different regions, the reduction
of food sovereignty, the destruction of
small-scale economies, the capture of
biomass, and commercial monopolies.
Sellado por especulación · 2016 Sealed Because of Speculation · 2016
Instalación · Dimensiones variables Installation · Dimensions Variable
1.8 x 3.9 x 0.27 m. 1.8 x 3.9 x 0.27 m.

130 / 131
los setenta y cinco años de la fundación
entonces Viejo Caldas. La cámara reg-
istra el paisaje cultural de la época, los
desarrollos de una sociedad y la urban-
- between the mountains, as well as the
naval conmemorativo. La cinta muestra
limpias, automóviles norteamericanos,
públicos de tres plantas como palacios
de gobierno y, sobre todo, entidades ban-
ciudad conocida en ese entonces como
“la Chicago colombiana”. Pero la moderni-
dad también se revela en las costumbres
de las personas. Hombres y niños vestidos
con moda inglesa, o incluso una sinies-
tra escena de un baile entre bambuco y
charlestón en donde los hombres aparecen
de mujeres y viceversa.
Durante el rodaje, la ciudad padeció un
de su centro histórico. Los productores
- -
desolador: “De los bancos, imprentas y
-
das”, fueron las palabras de la Colombian
-
the former department of Viejo Caldas. The
camera registers the cultural landscape of
the period, social development in the area,
parties and parades of the commemorative
automobiles, women’s colleges, new public
buildings with three stories such as the
governor’s palace, and, above all, banking
institutions that revel in the modernity
of this city known at the as the “Chicago
of Colombia.” But this modernity also
manifests in the customs of the people of
sinister scene of a dance halfway between
the Bambuco and the Charleston in which
the men appear as women and vice versa.
good part of its historic center. The produc-
gration. This material has been added to
-
breaking: “From the banks, print shops, and
commentary from the Colombian Film Com-
pany in the documentary.
Manizales City · 1925 · 35mm Manizales City · 1925 · Digital
transferido a digital · 52 min.

132 / 133
Luis Roldán
En el trabajo del artista caleño Luis
Roldán hay un análisis de la represen-
tación del paso del tiempo. Al observar
la vida cotidiana o estudiar la historia
premisas de diferentes discursos se acer-
can. En el caso de la categoría paisaje
tanto un efecto de emotividad como la
manifestación objetiva de una serie de
fenómenos temporalmente coincidentes
en la mirada del observador.
Sincronías, dibujos móviles, obra consti-
tuida por alambres y cuerdas colgados de
una pared junto a piedras de río cortadas
de tajo y puestas en el suelo, se ubica
entre la representación del fragmento de
entorno en la memoria de una persona
y su interés por mostrarlo a los demás.
Partiendo del relato de un espía con-
denado durante las purgas estalinistas,
Roldán propone un dispositivo anómalo
Como este preso casi ciego, encerrado
en una celda con vista, Roldán intenta
- strategy he demonstrates that the task of
peratura y atmósfera. Con esa estrategia
ser visto con claridad es un problema
ir más allá de la ironía, del fracaso o del
propio desconocimiento del mundo.
An analysis of the representation of the
passage of time is central to the work of
Cali-born artist Luis Roldán. Through
observing daily life and studying the
history of art, Roldán has found that the
premises of different discourses tend to
converge. In the case of landscape, he
noted that this type of representation
is as much the effect emotion as it is an
objective manifestation of a series of tem-
of the observer.
Sincronías, dibujos móviles [Synchronies,
Drawings in Motion], a work made with
wires and string hanging from a wall and
sliced river rocks placed on the ground,
characteristics of a location in a person’s
memory and inspires him to show it to
others. Beginning with a story of a spy that
was condemned during the Stalinist purges,
Roldán proposes an anomalous represen-
tation of the genre that includes optimism,
although very little of it.
Like this almost-blind prisoner, locked in a
cell with a view, Roldán offers the results of
this study of the effects of changes in light,
temperature, and atmosphere. With this
portraying the topography of a place that
cannot be clearly seen is a problem that,
more than having a solution, permits one
to go beyond irony, defeat, and one’s own
misunderstanding of the world.
Dibujos móviles · 2014 · Instalación Moving Drawings · 2014 · Installation
6 x 15 x 5 m. 6 x 15 x 5 m.

134 / 135
María Isabel Rueda
A simple vista, las imágenes parecen
Land Art:
unos caminos se prolongan hasta el hori-
gestos sobre el pasar o sobre el asentarse.
La década de los años 80 llegó al país con
la primera de nuestras guerras contra las
drogas. El presidente del momento, Julio
cooperación con la DEA para la erradica-
ción de las plantaciones de marihuana
marimbera en Colombia, primer productor
En Una línea deshecha bombardeando, de
2009, María Isabel Rueda documenta las
rutas abandonadas y los agujeros dejados
en el suelo de la Guajira por aviones
pistas por donde salía del país, en avio-
luego se consumía en los Estados Unidos
y Europa. A diferencia de Richard Long,
Rueda no se preocupa en esta obra por el
lento ejercicio de la construcción de un
camino al andar, sino por la destrucción
de ruina, dan testimonio de una historia
sido distinta hace 40 años, cuando la
marihuana era ilegal.
documents of a piece of land art: in an
austere, completely arid landscape, roads
another, a cavity in the earth interrupts
the grasslands. Maybe they are commen-
taries on the acts of traveling along, or
sitting down.
The 1980s arrived in this country along
the time, Julio César Turbay Ayala, signed a
treaty of cooperation with the DEA for the
eradication of marijuana plantations in La
Guajira, ending the bonanza marimbera,
the period of economic prosperity brought
on by marijuana cultivation in Colombia,
the world’s largest producer of marijuana
during the 1970s.
In Una línea deshecha bombardeando [A
Broken Line Bombing], from 2009, María
Isabel Rueda documents the abandoned
routes and holes left in the soil of La Gua-
jira by military planes that bombed the
paths by which marijuana left the country,
later to be consumed in the United States
and Europe. In contrast with Richard Long,
Rueda does not concern herself in this
piece with the slow process of the con-
struction of a road made by walking, but
with the systematic destruction of other
paths that, in their ruined condition, give
testimony to a political and economic
history that could have been different 40
years ago, when marijuana was illegal.
De la serie Una línea deshecha From the series A Line Undone by
bombardeando · 2009 · Fotografías Bombarding · 2009 · Photographs
Cada una: 60 x 91 cm. Each: 60 x 91 cm.

136 / 137
Jesús Ruiz Durand
la Reforma Agraria durante el Gobierno
un grupo creativo integrado por diseña-
dores, fotógrafos, escritores y periodistas,
- who produced editorial and audiovisual
ción editorial y audiovisual para difundir
y hacerle propaganda a los alcances de
la nueva y radical revolución económica,
social y cultural del General Velasco,
antiimperialista dentro de las divisiones
ideológicas de la Guerra Fría.
- both urban and rural areas. They were
-
otras temáticas, encargados por otros
ministerios e instituciones estatales,
como el de Industria y Comercio, Minero
Perú, Ministerio de Educación, entre otros.
reformas agrarias dio continuidad al lati-
fundismo, a la desproporcionada reparti-
catapultó las injusticias sociales, llevando
al pueblo a la insurrección y a una guerra
These posters were published between
-
semination of Agrarian Reform during the
Revolutionary Government of the Armed
a creative group that included designers,
photographers, writers, and journalists,
communication materials to create and
spread propaganda concerning the eco-
nomic, social, and cultural revolution of
General Velasco, whose regime was con-
sidered leftist and anti-imperialist within
the ideological divisions of the Cold War.
The posters were used in campaigns in
made with photographs taken in the
posters concerning other themes, com-
missioned by other ministries and state
institutions such as Industry and Com-
merce, Peru Mining, and the Ministry of
Education, among others.
As in Colombia, the failure of agrarian
reforms contributed to the continuation
of the latifundio plantation system, the
disproportionate distribution of the land
social injustice, spurring the people to
insurrection and a war contaminated by
the drug trade.
 1968-1973
Impresiones en offset y slideshow digital
1 x 0.7 m. · Área 2.6 x 10.9 x 6.1 m. Cortesía de
Revolver Galería, Lima
15 Posters for Land Reform · 1968-1973
Offset prints and digital slideshow
Dimensions Variable · 15 prints, each:
1 x 0.7 m. · Area 2.6 x 10.9 x 6.1 m. · Courtesy of:
Revolver Galería, Lima
138 / 139
Edwin Sánchez
Flujos, del artista bogotano Edwin
-
capitalino de Santa Fe. En la obra hay una
e interrelacionan diferentes dinámicas de
armas, intercambio sexual espontáneo)
con imaginarios cotidianos.
El proyecto funciona como un docu-
prostitución no regulada y el uso
compulsivo de sus servicios derivados.
Indaga, además, sobre las prácticas
habituales de diversos actores integra-
dos a ese sistema socioeconómico sin
los alcances y consecuencias de este
segmento de consumo, evitando así
la formulación de juicios moralistas.
interpretaciones basadas en la retórica
del sentido común, habitualmente ajena
las nociones forjadas en la doble moral,
donde la mayoría de opiniones giran en
torno a una idea no comprobada de las
víctimas y/o victimarios.
- needs. The analysis of those who partic-
sometido a sus apetitos más básicos o la
en este intercambio carece de criterio y
está expuesta a la manipulación de sus
necesidades. El análisis de la participación
intento por entender cómo opera un con-
aspiraciones subjetivas.
Flujos [Flows], by the artist Edwin Sán-
of the red-light district in the Santa
Fe neighborhood of Bogotá. The work
-
trading, spontaneous sexual encoun-
ters) arise and interrelate with the
imagined aspects of daily life.
This expanded documentary project ana-
compulsive use of its derivative services.
It also investigates the practices of the
diverse actors that participate in this
socioeconomic system without attempting
thereby avoiding moral judgments.
based on the rhetoric of common sense, in
contrast with the prejudices of those who
founded on moral double standards, which
the sex addict dominated by his most
basic appetites, or the assumption that
the woman involved in this exchange
lacks judgment and is at the mercy of her
ipate in this structure is an attempt to
understand the operation of a complex
web of transactions that generates mutual
subjective aspirations.
Flujos · 2016 · Videoinstalación de 12 canales Flows · 2016 · 12 channel video installation
Dimensiones variables · Videos: 6 min Dimensions Variable · Videos: 6 min
2.6 x 5.3 x 5.7 m. 2.6 x 5.3 x 5.7 m.

140 / 141
Vanessa Sandoval
Vanessa Sandoval suele producir carto-
graf ías subjetivas a partir de la reagrupa-
ción de territorios con base en eventos,
trabajo hace de la geograf ía un terreno
inestable, provisionalmente activado por
focos de actividad paramilitar o por el
descubrimiento de fosas comunes.
En esta ocasión, secciones de un tronco
regulares gracias a la acción de un motor
dan forma a Tremor (2016), una escultura
-
ción del cuerpo sufriente, desmembrado
y tembloroso, expuesto a la vista pública
de la audiencia del Salón.
El balanceo rítmico de las partes de la
obra abre el espacio a preguntas acerca
cuerpo se mueva? ¿Qué tipo de voluntad
yace se active? ¿Qué actividad es esta
especie de tenue convulsión o de arrullo
se mueve? ¿Se mueve para nosotros?,
¿con nosotros? ¿Es este movimiento una
extensión de la vida del árbol-cuerpo?
muerto? ¿Es un ejercicio mágico para
traer de vuelta el muerto a la vida, si es
Vanessa Sandoval produces subjective
territories with a foundation in the events,
generally tragic, that have taken place in
geography into an unstable terrain, provi-
by focal points of paramilitary activity, or
by the discovery of mass graves.
On this occasion, sections of tree trunks
are attached to a motor and sway at regu-
lar intervals, giving form to Tremor (2016),
a sculpture in which Sandoval generates a
series of unsettling associations about the
condition of a suffering body, dismembered
of the Salon’s audience.
The rhythmic swaying of the different
-
tions about the meaning of movement in a
recumbent body. What makes a body move?
What kind of will or disposition can make
something laying down be active? What
is this kind of faint convulsion or rhyth-
mic murmur for a tree or a body that has
been cut into pieces? What does it move
for? Does it move for us? With us? Is this
movement an extension of the life of the
tree-body? Is it a call to not forget that it
is dead? Is it a magical exercise to bring
the dead back to life, is it that to tremble
is to live?
Tremor · 2015 · Escultura · 4 troncos de Tremor · 2015 · Sculpture · 4 pieces of wood
madera sobre bases de madera de 18 x 90 x on wooden platforms, 18 x 90 x 60 cm.
60 cm. Área: 280 x 90 x 320 cm Area: 280 x 90 x 320 cm

142 / 143
Moe Satt
¿Acaso las manos de uno podrían contar
comunicativas. Tan solo las manos
pueden llegar a revelar nuestras cor-
la sabiduría… En Manos alrededor de
Rangún, Satt graba planos cerrados de
cotidianamente. Desde las de vendedores
ambulantes y carpinteros de iconos
religiosos hasta las de trabajadores
de una colección de la vida popular, un
-
guardan conocimientos del pasado.
Sin las imágenes de los rostros, los movi-
mientos de las manos de cada personaje
aparecen de forma autónoma, generando
una secuencia casi hipnótica. A primera
vista, las formas de vida retratadas en
cada encuadre podrían asimilarse al
contexto de economía informal en
América Latina. Sin embargo, por momen-
del contexto geopolítico de Birmania, el
país del sudeste asiático donde vive el
tipo de comidas irreconocibles para el
público local o en las de los carpinteros
ese contexto “lejano”.
estrechamente ligados a la preca-
de dos décadas de embargo, como
transmiten unas manos rellenando
encendedores, arreglando sombrillas, o
cosiendo a mano cuadernos escolares.
Is it possible for one set of hands to tell a
story? There are hands that work, hands
with which we eat, hands which communi-
cate. Only hands can manage to reveal our
corporeal features, our subjectivities, our
sadness and wisdom. In Hands around Ran-
goon, Satt records close-ups of the hands
of people who surround him in daily life.
From street hawkers and woodworkers who
make religious idols to workers at different
manual trades. It amounts to a collection
of scenes from daily life, an anthropo-
logical museum of gestures which harbor
bodies of knowledge from the past.
By excluding their faces, the shots of the
moving hands appear autonomous, cre-
sight, the ways of life depicted in each
frame may resemble the cultural land-
scape of Colombia or any other country in
Latin America with an informal economy.
However, there are moments when they
geo-political reality of Burma, the country
in Southeast Asia where the artist lives.
The hands that prepare dishes that are
unheard of in Colombia, or that belong
Buddha, reveal this “distant” context.
show their close link with the economic
hardship suffered by the country during
two decades of embargo; these practices of
-
the pages of school notebooks by hand.
Manos alrededor de Rangún · 2012 · Video Hands Around Rangoon · 2012 · Video
HD · 7:20 min HD · 7:20 min

144 / 145
Andreas Siekmann
En este trabajo Siekmann investiga las
de carbón Zeche Lohberg, en Alemania,
cerró en el año 2005 para convertirse en
un monumento, un museo de la memoria
celebrando su antigua función. ¿Qué con-
diciones económicas y políticas causaron
- many, just as the country subcontracted
to cuando se subcontrató la producción
de carbón a otros países con mano de
obra barata, como Colombia? A través de
arte, propaganda, información e ingenie-
ría social, esta obra revela no solo los orí-
genes del carbón consumido actualmente
por la economía líder de Europa, sino los
hechos y contextos de las luchas de los
trabajadores: las injusticias sociales, la
violencia estatal y los desastres naturales
asociados a estos lugares de extracción,
como el Cerrejón en La Guajira.
enormes estructuras de concreto, repre-
sentativas del paisaje minero en Alemania,
convertida en una especie de teatro para
marionetas fabricadas con el lenguaje de
pictogramas de Siekmann. En una de las
- industrial region of Ruhr in Germany with
tapone la topografía de la región industrial
del Ruhr alemán con la topografía de las
minas de carbón en La Guajira y el Cesar.
Sobre este mapa aparecen los nombres de
colombiano a Alemania, como Xstrata,
Glencore y Mount Drum, reconocidas por
sus malas prácticas laborales.
In this work Siekmann investigates the
true reasons for the closing of the Zeche
Lohberg coal mine in Germany in 2005 to
be converted into a monument, a museum
of memory commemorating its prior use.
What economic and political conditions
caused the end of local mining in Ger-
its coal production to other countries
with lower labor costs, such as Colom-
bia? Through the language of pictograms,
interlinking art, propaganda, information,
and social engineering, this work not only
reveals the origins of the coal currently
consumed by Europe’s economic power,
but also the events and contexts of the
struggles of the workers who mine it:
social injustice, state violence, and natu-
ral disasters associated with extraction
sites such as El Cerrejón in La Guajira.
The installation includes a model of enor-
mous concrete structures that represents
the mining areas in Germany, converted
into a kind of theater for puppets made
in Siekmann’s pictographic language. On
-
ment juxtaposes the topography of the
the coal mines in La Guajira and El Cesar.
The map is marked with the names of the
multinational corporations that import
Colombian coal into Germany, such as
Xstrata, Glencore and Mount Drum, all
known for poor labor practices.
Y la plata & el último paga · 2006-2016 Where the Coal Comes From & Who Is Paying
Instalación · Dimensiones variables For It (Project) · 2006-2016 · Installation
2.8 x 6.2 x 6 m. Dimensions Variable · 2.8 x 6.2 x 6 m.

146 / 147
Jeison Sierra
En la obra del artista Jeison Sierra, una
larga extensión de tierra ha sido reclamada
para devenir territorio común ante la
- experience, sparking off a persistent search
la suerte de encontrar a pesar de la incerti-
referirse a su obra, Sierra no puede ocultar
del sentimiento del romántico frente a la
- an encounter in which the immensity and
tal de un encuentro donde la inmensidad y
desarraigo y soledad, mientras le ayuden a
en el intento de dominar el territorio, mol-
deándolo, en este caso, en imagen.
Se trata de una escena de clima ambiguo,
interactuar, a veces de una manera depre-
dadora, con el territorio.
In this work by Jeison Sierra, a large tract
of land has been reclaimed as communal
territory
the spectator, who is generously offered a
landscape for contemplation.
for the places that he has had the fortune
he began his path. In speaking of his work,
Sierra cannot conceal what might be under-
stood as the inheritance of the feelings of
the Romantics in the presence of nature:
he maintains the transcendental desire for
nature, his alienation, and his solitude,
while aiding him in his obstinate efforts
to master the land, molding it, in this case,
into image.
Sierra works with scenes of ambiguous
climates, that closes a cycle between dawn
and dusk. It is a place where he can think
about the ultimate destiny of his voyages, a
-
iting and interacting with the territory, at
times in a predatory fashion.
Territorio Común· 2016 · Óxido de hierro y Common territory · 2016 · Iron oxide and
trementina sobre papel · 1.5 x 9.9 m. turpentine on paper · 1.5 x 9.9 m.

148 / 149
Eusebio Siosi
Sueños de la Outsü es el registro en video
de un performance
ta riohachero Eusebio Siosi alrededor
estructuran la sociedad wayuu. El trabajo
involucra tareas de documentación y el
estudio de diversas prácticas. El montaje
Sueños de la Outsü
la diversas tensiones sociales, sin perder
- gentleness and power of an activity such
y la potencia de una actividad como la
interpretación de los sueños entre los
esta práctica cultural es tan importante
mujeres, dotadas de autoridad para
actuar en el momento preciso, depende
el baile de la Yonna y el ritual de Las
Soñadoras, el artista explora los límites
cultura se extiende hasta los estados de
entre intérpretes, interpretaciones y la
acción cívica resultante hace parte de un
tamente pura ni plenamente aculturada.
Sueños de la Outsü [Dreams of the
- Outsü] is the video recording of a per-
formance by Eusebio Siosi, of Riohacha,
about one of the multiple elements that
structure Wayuu society. The work is the
culmination of research of various local
practices. The recording shows the wealth
of a culture that the mestizo worldview
want to understand.
Sueños de la Outsü reveals social ten-
- sions without losing autonomy from what
it presents, while eluding didactic eth-
nography. More than just illustrating the
as the interpretation of dreams among the
Wayuu, Siosi uses his own iconography to
demonstrate that this cultural practice is
so important that it determines the nature
-
rium of an entire community depends on
the effective intervention of its women,
gifted with the authority to act at the
correct time.
Through elements such as the Yonna
dance and the ritual of The Dreamers, the
artist explores the limits of a territory
-
graphical location. He demonstrates that
the domain of this culture extends to
the states of dream and consciousness,
interpreters, interpretations, and the civic
action that results from the process forms
a sophisticated framework of a subjec-
tivity that is neither completely pure nor
wholly acculturated.
-
Sueños de la Outsü · 2015 Dreams of the Outsü · 2015
Instalación de video performance Installation of videoperformance
2 canales de video: 16 min. 2 channels · Video: 16 min.

150 / 151
Chulayarnnon
Siriphol
Este video gira alrededor del Tribhumi,
una iconograf ía del budismo Theravada
cosmológica de lo terrenal y celestial
de la religión y el mito por parte de las
facciones nacionalistas en Tailandia.
una impresión antigua del Tribhumi mien-
ticia, propone una genealogía especulativa
del Tribhumi
midal puede llegar a encontrarse en todas
partes: desde pagodas, palacios y lugares
de oración hasta en puestos de comida e
incluso en rascacielos corporativos.
Una pirámide fabricada con tubos de
escultura en el Salón— ilumina al joven
dormido, vistiendo una camiseta con la
bandera de Tailandia. La pirámide aparece
luego al fondo de una gran manifestación
Pueblo de Tailandia por la Democracia),
un movimiento político de ultraderecha,
más conocido como los Camisas Amarillas,
compuesto en su mayoría por la clase
apoyó en 2010 a la junta militar actual y,
con ello, la protección del statu quo de
démico sentado en pose de buda dentro
de la pirámide, elevándose hacia los cielos
nacionalistas lo acompañan para formar
la estructura del Tribhumi.
This video revolves around the Tribhumi,
an icon from Theravada Buddhism that
represents the three levels or states of
that this cosmological image of earth and
-
nationalist groups.
ancient rendering of the Tribhumi while
the voice of a young academic describes
- the meaning of this Buddhist vision of the
world. His narration, somewhere between
- -
lative genealogy of Tribhumi and suggests
- that its pyramidal shape can be found all
over: from pagodas, palaces, and places
of prayer to food arrangements and even
corporate skyscrapers.
A pyramid made with halogen tubes, also
exhibited as a sculpture in the Salon,
illuminates the young academic who reap-
pears in the scene, sleeping and wearing
then appears behind a large protest by
for Democracy), a political movement
better known as the Yellow Shirts, mostly
composed of the privileged metropolitan
middle class, who in 2010 supported the
current military junta, and with it the
-
archy. The work concludes with the young
academic seated inside the pyramid in the
Buddha pose, rising up to the sky towards
- the universe, where other nationalists join
him to form the structure of the Tribhumi.
 1.

2.

1. Mito de la modernidad · 2014 · Instalación 1. Myth of Modernity · 2014 · Installation

(video y objeto escultórico luminoso) (video and sculptural light object)
Video: 16 min · Objeto: 0.9 x 1.3 x 1.3 m. Video: 16 min · Object: 0.9 x 1.3 x 1.3 m.
2. Planking · 2012 · Video: 3 min. 2. Planking · 2012 · Video: 3 min.

152 / 153
Maria Taniguchi
Este video gira en torno al jeepney, el
medio de transporte público icónico del
paisaje de las Filipinas. El jeepney está
compuesto de partes del jeep Willys esta-
dounidense y se originó cuando Filipinas
era colonia norteamericana (1898-1946)
luego de haber sido cedida por el Imperio
español. La presencia militar de EE. UU.
en este archipiélago se incrementó
durante la Segunda Guerra Mundial por
país entre 1942 y 1945—. Pero antes de
la invasión se importó de forma masiva
tanto el jeep Willys modelo MB como
artillería estadounidense.
El jeepney se convirtió rápidamente en
la transporte ideal para las calles despa-
vimentadas de la ciudad. La estructura
del Willys se alargó para incrementar el
número de pasajeros y se le adhirió un
capote extenso para aclimatarlo a las
altas temperaturas y la humedad de los
trópicos. A lo largo de los años, la carca-
con diseños coloridos, y hoy en día los
artesanos y artistas callejeros pintan sus
-
tes culturales populares.
En su trabajo, Taniguchi graba de manera
estéril y clínica un jeepney completamen-
te nuevo, fabricado en acero inoxidable,
desnudo ante la cámara, sin ningún signo
subjetivo de ornamento kitsch. En un
fondo blanco, y con elegantes encuadres
y movimientos de cámara, la artista
This video concerns the jeepney, the
iconic medium of public transport in the
Philippines. The jeepney is made of parts
of the Jeep Willys from the United States.
It originated in the period in which the
Philippines became a North American
colony (1898-1946), after having been
ceded by the Spanish Empire. The military
presence of the United States in the archi-
pelago increased during World War II as a
response to the threat of the Japanese
occupied the country between 1942 and
1945, but prior to the invasion the Philip-
pines imported a massive amount of model
MB Jeeps and US artillery vehicles.
The jeepney rapidly became the ideal
transport for the unpaved streets of the
city. The Willys could expand to allow for
more passengers, and a long cover was
attached to adapt it to high tropical tem-
peratures and humidity. Over the years, the
body of the jeepney began to be decorated
with colorful designs, and today artisans
and street artists paint intricate ornamen-
tation on them, mixing different sources
from popular culture.
In her work, Taniguchi makes a sterile, clin-
ical recording of a completely new jeepney,
made from stainless steel, naked before
the camera, without kitsch or ornament.
Using a white background, and with elegant
framing and camera movement, the artist
converts the machine into a fetish object.
Sin título (Motores Celestiales) Untitled (Celestial Motors)
2012 · Video HD: 06:38 min. 2012 · Video HD: 06:38 min.

154 / 155
Gustavo Toro

En 2014, el artista pereirano Gustavo In 2014, the Pereiran artist Gustavo Toro
Toro recorrió la costa ecuatoriana obser- traveled along the Ecuadorian coast to
vando cómo sus habitantes resolvían las observe how its inhabitants resolved their
necesidades básicas de habitación y sus- basic needs for shelter and sustenance.
- He noted that in some cases the two cul-
tural practices proved incompatible: the
incompatibles: las condiciones del terre- condition of the terrain meant that the
cultivation of highly fertile soil threatened
- the stability of neighboring constructions.
lidad de las construcciones aledañas.
In his travels, Toro found that the village of
Babahoyo conformed to this axiom and he
decided to represent it in his work Son las
este axioma y decidió representarlo en aguas las que hacen la ciudad [Waters
la obra Son las aguas las que hacen la Make the City]. He took photographs and
ciudad. Tomó fotograf ías y construyó built a group of structures that replicate
un grupo de estructuras replicando los the aesthetic and architectural practices
- predominant in the area. With his dis-
nicos predominantes en el lugar. Con tinctive geometric rigor, Toro constructed
el rigor geométrico propio de varios de blocks of earth that barely held together, in
some cases painted with bands of color or
de tierra poco consolidados, en algunos held up by planks of wood decorated with
casos pintados con franjas de color o the same chromatic pattern. The exposed
sostenidos por tablones de madera foundations show the passage of time:
intervenidos con el mismo patrón on some of them vegetation grows, while
cromático. Los cimientos a la vista per- others fall apart.

This decision manifested the structural

del tiempo: sobre unos se veía crecer
instability of the constructions in many of
vegetación, otros se desmoronaban.
the communities located on sites chosen
Esta decisión daba cuenta de la more by necessity than viability. It was a
inestabilidad estructural de las cons-
trucciones de muchos de los habitantes years later: In 2016 the village suffered
de comunidades ubicadas en lugares
Without intending to, the work became an
unexpected document of the struggle of a
species to draw functional use from nature.
después: en 2016 la población sufrió las
consecuencias de un fuerte terremoto.

en un documento inesperado de la lucha

de la especie por separar uso funcional
Son las aguas las que hacen la ciudad Waters Make the City · 2016
2016 · Fotografía e instalación Photography and installation
Dimensiones variables 2.8 x 5.45 x 6 m. Dimensions Variable 2.8 x 5.45 x 6 m.

156 / 157
Ivan Tovar
Gran parte del trabajo del artista caleño
Ivan Tovar gira en torno a la valoración
de los espacios y elementos usados por
los humanos para habitar diversos terri-
torios. Es así como, tras visitar una ladri-
llera artesanal en el pueblo vallecaucano
mantener activo ese complejo demostra-
constatación dio inicio al proyecto Todos
los fuegos, el fuego, de donde procede
la obra Sin título (Iglú), una estructura
- from malformed blocks of clay and illumi-
fectos e iluminada en su interior con un
bombillo de bajo voltaje.
idea de protección y abrigo, al ser ela-
borada con material derivado de errores
- labor. With this object, Tovar makes us
tades de la labor constructiva. Con este
objeto, Tovar nos obliga a mirar hacia
nuestra deliberada omisión de la transi-
toriedad y fragilidad de los lugares donde
vivimos. Así mismo, nos recuerda la frus-
La forma de iglú puede ser interpretada
en clave de crítica antropológica pues,
como lo recuerda el crítico Breiner
Huertas, mediante la construcción de
desaparecer luego de ser abandonada,
territorios altamente dependientes de
la variación climática. Así, al construir
están dañados, Tovar recuerda nuestra
obsesión con la posesión del territorio,
para asentarnos y, de paso, devastarlo.
Much of the work of Iván Tovar, from Cali,
gives value to spaces and elements used
by humans living in differing regions. That
focus led him to visit a handmade brick
maker in a town called Candelaria in the
Valle del Cauca department. There, he
noted that the process of conducting this
activity demonstrates the interwoven rela-
experience became the start of the project
entitled Todos los fuegos, el fuego [All the
Fires, the Fire] which includes the piece
Untitled (Igloo), a structure constructed
nated inside by a low voltage light bulb.
Despite a shape that conveys the ideas of
protection and shelter, the work’s use of
material created through industrial errors
examine our deliberate omission of tran-
sience and fragility in the places where we
live, and reminds us of the frustration we
feel when we see an architectural struc-
ture collapse.
The form of the igloo can be interpreted
As the critic Breiner Huertas reminds us,
through the construction of houses of ice
that will disappear after being abandoned,
the Eskimos thrive in regions that are
highly dependent on climatic variation
without altering their environment. By
constructing a sculpture with materials
that aspire to permanence but that are
damaged, Tovar alludes to our obsession
and, ultimately, devastate.
Sin título · 2014-2016 · Escultura e Untitled · 2014-2016 · Sculpture and
instalación · 1.9 x 2.75 x 2.75 m. installation · 1.9 x 2.75 x 2.75 m.

158 / 159
Andrés Felipe Uribe
Las piedras rodantes del rocanrol (Los
Ángeles Tour), de Andrés Felipe Uribe,
es un performance documentado del
ciudad de Bogotá. Siguiendo la referencia
al título de una canción del siglo pasado,
Uribe recorre con estos objetos la ciudad
de Los Ángeles buscando atravesar varias
una de las capitales del rock global.
novela de iniciación donde era fundamen-
tal su encuentro con algunos de los hitos
de su propia formación. Viajar y constatar
robustecer los pivotes de su identidad
particular. Sin embargo, y por fortuna,
este plan se truncó. Al coincidir en su
recorrido con una manifestación, un agen-
recoger y guardar las piedras argumentan-
Sin atender a sus explicaciones, terminó
obligándolo a interrumpir la producción
de la administración Obama hay una
aguda activación de la lucha de clases
policial es altamente responsable de
ese fenómeno, este hecho supera la
anécdota para ser interpretado como un
contrapunto ideológico ejercido sobre
dos objetos destinados inicialmente
a otra función. Al ser percibidas como
armas contundentes, las dos piedras
pasaron a representar un encuentro
fallido entre lo existencial y el control.
Las piedras rodantes del rocanrol (Los
Ángeles Tour) [The Rolling Stones of Rock
n’ Roll (Los Angeles Tour)], by Andrés Felipe
Uribe, is a documented performance about
the physical displacement of an artist
along with two river rocks that he found in
Bogotá. Following the title’s reference to a
song from the last century, Uribe traveled
with these objects to the city of Los Ange-
that metropolis as one of the global capi-
tals of rock music.
-
tiation based on his encounter with some
of the landmarks of his own development.
Travelling and seeing things for himself
are actions that arose from his desire to
reinforce changes in his own identity. How-
ever, luckily, this plan was cut short. When
his trip brought him to a protest, a police
away the stones, arguing that he could hurt
someone with them. Without listening to
interrupt the production of his piece under
the threat of detention.
If one considers the fact that during the
end of the Obama administration there
war with racist undertones, and that law
enforcement institutions carry much of
the responsibility, this act goes beyond
anecdote to function as an ideological
counterpoint exercised on two objects
that were initially destined for another
function. Taken as blunt weapons, the
two rocks came to represent a failed
encounter between existential explora-
tion and control.
Piedras rodantes del Rocanrol Los Angeles The Rolling Stones of Rock’ n’ Roll, Los Angeles
Tour · 2015 · Video performance e instalación Tour · 2015 · Videoperformance and three
de video en tres canales y piedra de río channel video-installation and river rock
0.9 x 4.4 m · Videos: 86, 11:03 min, 10 seg. 0.9 x 4.4 m · Videos: 86, 11:03 min, 10 sec.

160 / 161
Liliana Vélez
De la integración de Cirugía (2006–2007)
y Pandeyuca (2016) surge Soberanas
por una idea básica: el cuerpo de la
mujer está para ser puesto sobre la
mesa. Y lo podemos poner ahí para lo
modelarlo, pues la mujer se mantiene
siempre pasiva, receptiva e, incluso,
agradecida de ser comida o transfor-
mada a voluntad, a voluntad de otros.
tal ejercicio de pasividad y subyugación
Soberanas, pues, ¿dónde está la posibi-
mujer servida en la mesa del cirujano o
corresponde a un Estado independiente”
- as “unsurpassed nobility or excellence in
inmaterial”, solo podemos preguntar-
al límite del asco al hacernos partícipes
el proceso sádico de su elaboración.
largo de un hacer donde el performance
hacen indiscernibles. Su cuerpo, paciente
y yaciente, nos da de comer imágenes
dif íciles de tragar en un momento histó-
del cuerpo de la mujer debe hacerse fácil,
limpio y uniforme. Al poner en escena
el exceso y la brutalidad de un ejercicio
patriarcal abre una boca, no solo suya,
menos momentáneamente, se ha librado,
soberano, de nuestro deseo.
From the integration of Cirugía [Surgery]
(2006–2007) and Pandeyuca [Manioc
bread] (2016) comes Soberanas [Sovereign
Women] (2016), a piece that superimposes
two autonomous works connected by a
basic idea: women’s bodies are made to
be served up on a table. We can put them
there for whatever we want, whether to
dine on them or sculpt them, and the
woman always remains passive, receptive,
and even grateful for being eaten or trans-
formed at will, the will of others.
But it is also strange that this exercise
of passivity and subjugation can emerge
from something that its author named
Sovereign Women. Where is the possibil-
ity of sovereignty, for the woman served
up on the table of the surgeon or dinner
the “supreme political power correspond-
ing to an independent state,” or, at least,
an immaterial order,” we can only ask our-
selves what supreme power is present here,
and what nobility or excellence manifests
itself in a piece that takes us to the limits
us to participate in the sadistic process of
its creation.
combines performance and writing in a way
that often makes them indiscernible. Her
body, patient and reclined, feeds us images
in which the indiscriminate consumption
of women’s bodies has become easy, clean,
and uniform. In creating a scene of the
excess and brutality of the exercise of
patriarchy, she opens a mouth, not only
hers, but also that of those who receive the
least for a moment, has become sovereign,
free from our desire.
Soberanas · 2016 · Medios mixtos Sovereign · 2016 · Mixed media
Dimensiones variables · 1.35 x Dimensions Variable · 1.35 x
2.43 x 0.6 m. · Video: 86:34 min. 2.43 x 0.6 m. · Video: 86:34 min.

162 / 163
Apichatpong
Weerasethakul
En los últimos años, el nivel del agua del
a lo largo del sudeste asiático. Varios
principal es la construcción de plantas
hidroeléctricas río arriba, en territorio de
Laos y China. En esta fotograf ía cinema-
y artista tailandés, retrata a Power Boy
[Chico eléctrico], un personaje imaginario
sirve para mostrar la crisis ambiental del
río a través de la capacidad de autogene-
ración de energía de su personaje, revela-
da en la siniestra imagen de los bombillos
La atmósfera onírica de la imagen es repre-
sentativa de la estética de Weerasethakul,
cuyo campo poético evoca complejidades
sociales a través de un entrecruce de
narraciones introspectivas con represen-
taciones de la intimidad y de las creencias
en fantasmas, recurrentes en las culturas
del sudeste asiático.
Esta obra hace parte de una serie de
fotografías y cortometrajes titula-
dos For Tomorrow For Tonight [Para
mañana, para esta noche], dedicados
a Jenjira Pongpas una de las actrices
de sus aclamados largometrajes,
In the past several years, the water level in
throughout Southeast Asia. Several studies
the construction of hydroelectric plants
on the upper river, in Laos and China. In
this cinematographic photography, Weer-
portrays Power Boy, an imaginary character
who emerges from the Mekong river. This
through his ability to generate energy,
revealed in the sinister image of light bulbs
that emanate from his body.
The dreamlike atmosphere is represen-
tative of the aesthetic of Weerasethakul,
whose poetic works evoke social complex-
ities through interwoven, introspective
narratives that represent intimacy and
belief in ghosts, recurrent themes in the
cultures of Southeast Asia.
This piece is part of a series of photographs
For Tomorrow for
Tonight, dedicated to Jenjira Pongpas, an
who lives on the banks of the Mekong river.
Chico eléctrico · 2011 · Impresión Power Boy · 2011 · Color digital print
digital a color · 1.5 x 2.25 m. 1.5 x 2.25 m.

164 / 165
Ming Wong
La cultural tradicional china está fundada
en mitos —como la leyenda de la diosa
el guión, así como en su escenograf ía, la
ópera de Pekín y la cantonesa implemen-
- concepts and architectural elements that
y la transportación de personajes hacia
épocas y universos paralelos, en parti-
mitológicos o sobrenaturales.
Este trabajo aborda el viaje a través del
la ópera chinas del siglo XX.
La instalación de Wong está estructurada
alude al cuarto de control de una nave
espacial. En cada monitor aparece un
de fragmentos de video en donde apare-
cen personajes femeninos representando
exploradoras del espacio.
El material audiovisual incluye novelas y
series sobre mitología china, cine asiático
narrando las más recientes exploraciones
en el espacio a cargo de astronautas
la idea de “el futuro” en la modernidad
china, conectando la tradición con la
tecnología, el mito con el progreso. Los
videos en las pantallas también transmi-
ten escenas de Solaris (1972) de Andrei
Tarkovsky y de Gravity (2013) de Alfonso
Cuarón, película donde la astronauta
interpretada por Sandra Bullok vuelve a la
tierra a bordo de una nave espacial china.
Traditional Chinese culture is founded on
myths that could be considered science
Chang’e, who resides on the moon. In their
scripts as well as their stage design, the
Peking and Cantonese operas implement
suggest the elasticity of time and the trav-
eling of characters to parallel universes
and epochs, particularly in works situated
in mythical or supernatural worlds.
This work deals with time travel and space
20th century.
Wong’s installation is structured as an
array of screens that alludes to the con-
trol deck of a spaceship. On the monitors,
several texts narrate the artful history
-
nine characters represent space explorers.
The audiovisual material includes novels
and television series about Chinese
-
munist reporters narrating recent space
exploration by Chinese astronauts. The
work investigates the idea of “the future”
in Chinese modernity, connecting tradi-
tion with technology, myth with progress.
The videos displayed on the screens also
include scenes from Solaris (1972) by Andrei
Tarkovsky and Gravity (2013) by Alfonso
by Sandra Bullock returns to Earth on
board a Chinese spaceship.

2.
1. Ventanas sobre el mundo (parte 2) · 2014
Video instalación · 24 monitores de video
1.6 x 4.5 x 0.75 m.
2. Ascensión al Palacio Celestial (III) · 2015
Impresión digital · 1.5 x 1 m.
3. Escenografía para una ópera china de
ciencia Ficción (I) · 2015 · Impresión digital
1.5 x 1.6 m.
1.
3.
1. Windows On The World (Part 2) · 2014
Video installation · 24 video monitors
1.6 x 4.5 x 0.75 m.
2. Ascent to the Heavenly Palace (III) · 2015
Digital print · 1.5 x 1 m.
3. Scenography for a Chinese Science Fiction
Opera (I) · 2015 · Digital print · 1.5 x 1.6 m.
166 / 167
www.Interferencia-co.net
Interferencia es un grupo de trabajo
combinar lógicas de producción del arte
contemporáneo y arte político con inter-
Glosario de términos {… para la vida …} es
Jimena Andrade y Marco Moreno buscan
ha lastrado varias palabras con poder
atender nuestra manera de usar algunos
conceptos dentro del campo artístico,
pues pierden efectividad al ignorar su
- original sense, or context.
texto donde se crearon.
Al margen del mercado corporativo y
- effect on ways of acting in daily life, the
cia sobre los modos de actuar en la vida
cotidiana, la versión del Glosario, en este
Salón Nacional, se estructura en torno
a la idea de resistencia. Para hacerlo,
amplía el uso de esta noción no solo
como respuesta ante la alienación deri-
vada de la permanente promoción de un
nuevas articulaciones de sentido.
-
establecen nuevas redes o se muestra
llama la atención sobre la constante ree-
idea, si verdaderamente es buena, será
fácilmente cooptada por su contrario.
Interferencia is an art collective that, since
2008, has investigated ways of combining
the logistics of the production of contem-
porary and political art with interventions
Glosario de términos
{... para la vida ...} [Glossary of Terms {...
For Life...}] is a long-term project in which
Jimena Andrade and Marco Moreno seek
to combat the everyday dulling that has
undermined various words with the power
to pay attention to how we use various
effectiveness if we ignore their meaning,
At the margins of the corporate market, and
version of Glosario featured in the National
Salon is structured around the idea of
resistance. In this work, they amplify this
idea as a response to the alienation that
comes from being exposed to the constant
promotion of a single way of consumption,
while also searching for new articulations
of meaning.
new networks are established, or it is
demonstrated that others have sprung up
project calls attention to the constant
reevaluation of the objectives of any
stance one may take; above all, because
Interferencia understands that a good idea,
if it truly is good, will easily be co-opted by
its opposite.
Glosario de términos {...para la vida...} Glossary of Terms {… for Life…} · 2011-2016
2011-2016 · Videoinstalación · Dimensiones Video installation · Dimensions Variable
variables · 2.8 x 5.62 x 2.4 m. · Video: 53 min. 2.8 x 5.62 x 2.4 m. · Video: 53 min.

168 / 169
Sonnia Yépez
Esta artista cartagueña propone sus
Mediante una cuidadosa producción de
(por ejemplo, una bomba de hule ela-
cotidiano (por ejemplo, un ladrillo converti-
de nosotros solo nos relacionamos con los
objetos cuando nos sirven para algo.
En Llanta, la artista da una nueva vuelta
había sido desechado por haber cumplido,
precisamente, su ciclo productivo, replicó
- tires from the trash, modeled them in clay,
de la basura, las modeló en cerámica
y las montó según se disponen en los
anuncios de locales de despinchado no
corporativos. Como marco conceptual de
esta serie de pasos, tuvo en mente los
para ponerlos en un nuevo contexto.
A partir de esta operación, la artista
en desuso “implica entonces pensar en
construido por los mismos, sin llegar a dis-
torsionar [su] realidad visual […], por [ello]
- man hasn’t managed to build.”
donde el hombre no ha llegado a construir”.
This artist from Cartago posits her work as
a series of ontological stumblings. She
carefully produces sculptural pieces that
intervene in the reliable representation of
objects (a rubber pump made of glass that
only exists to be looked at) to deny the
possibility of regular use (a brick converted
into a tiny, solitary children’s construction
block). She does this because she knows
that many of us only relate to objects that
serve us in some way.
In Llanta [Tire], the artist turns again to this
practice. Using an original object that has
been thrown away because it was worn out,
is fragile and demanding of care. Relying
on her capacity to understand and imitate
and mounted them in the manner of adver-
tisements for local tire shops. As a base
concept for this series of steps, she kept in
mind the contributions that she took from
Baudrillard’s best work, and put them in a
new context.
Through this operation, the artist under-
stood that choosing an object in disuse
“causes one to think about the terrain it has
traversed, and which shaped it without
distorting its visual reality [...] the work
unintentionally manifests the construc-
Llanta · Tire · 2016 · 3 ceramic pieces · Dimensions
Dimensiones variables · 65 x 50 x 50 cm Variable · 65 x 50 x 50 cm

170 / 171
Tatyana Zambrano
Roberto Ochoa
- could almost touch. Little doubt remained
a nuevas miradas sobre un país reducido a
guerrillero tenía el papel antagónico.
a brillar, Tatyana Zambrano y Roberto
un correo de Tatyana a Timochenko, en el
darle a las FARC una nueva imagen, acorde
con los nuevos tiempos— en una serie de
para este grupo guerrillero en trance de
convertirse en movimiento político.
Compañeros, ¡yo me encargo! (2016) es el
a duras penas instalada, con el gusto sin
gusto de algún sindicato o del espacio de
trabajo de algún viejo dignatario del PC,
una serie de coloridos productos visuales,
prototipos, correcciones y pruebas tratan
año, tuvo la oportunidad de tener un gru-
po guerrillero menos.
hoy en el limbo de ser entendida como el
ejercicio de una posibilidad de transfor-
la historia nacional o, dependiendo de las
contingencias del poder, como una simple
2016 began with a promise of peace that we
that after 42 years of war against the
FARC, there would be new narratives and
outlooks concerning this country, whose
history has been reduced to a movie in
which the guerrilla group always takes the
role of the villain.
Thinking that a new sun was going to rise,
Tatyana Zambrano and Roberto Ochoa
started to work —through an email from
Tatyana to Timochenko in which they
offered their design services to give the
FARC a new image in accordance with
the new times— on a series of visual
pieces, merchandise, and products for this
guerrilla group in a critical moment of con-
verting itself into a political movement.
Compañeros, ¡yo me encargo! [Comrades,
I’ll Take Care of It!] (2016) is the result of
the tasteless taste of a union or some
old Communist Party dignitary, a series of
colored visual products, prototypes, drafts,
and experiments attempt to manifest new
representations for this country that, at the
beginning of this year, had the opportunity
to have one guerrilla group less.
Only an archeologist from the future could
tell us the nature of this work by Zambrano
and Ochoa. Today it is in a limbo between
being understood as the exercise of the
possibility of political transformation at
a breaking point in national history, or,
depending on the contingencies of power,
Compañeros, ¡YO ME ENCARGO! · 2016 Comarades, I’LL TAKE CHARGE! · 2016
Instalación · 2.6 x 5.26 x 2.6 m. Installation · 2.6 x 5.26 x 2.6 m.

172 / 173
Sergio Zevallos
- Much like in Colombia, the cultural land-
tural de los años ochenta en Perú estuvo
marcado por la guerrilla, la represión
A lo ancho del país se implementó una
política de terror dirigida hacia las
poblaciones rurales, mayoritariamente
amerindias. En respuesta a los actos de
Zevallos con el Grupo Chaclacayo —junto
con Helmut J. Psotta y Raúl Avellaneda—
contesta desde el arte.
Durante esta época el colectivo se mudó
a una casa abandonada en el distrito
Chaclacayo en las afueras de Lima. Se
su identidad marginal, libre de la vida
metropolitana y de la escena artística
burguesa y heteronormativa. El Grupo
Chaclacayo produjo una estética experi-
mental usando el cuerpo de los artistas y
sus trabajos tenían un componente signi-
- and recreations of “scenes” were planned
nes y recreaciones de “escenas” fueron
existió una audiencia y, aún hoy, en cada
imagen se siente la clandestinidad, el
miedo y la ansiedad.
El nombre de esta serie de fotograf ías
proviene de Santa Rosa de Lima, una
y un años, obsesionada por lograr la
de su cuerpo. Hoy en día es patrona de la
sistemáticamente ha abusado de cuerpos
a lo largo de la historia moderna del país.
scape of the 1980s in Peru was marked
by guerrilla warfare, political repression,
and the tentacles of the drug trade. The
politics of terror were implemented
across the country, directed at the mostly
indigenous rural population. As a reaction
to the daily sadistic acts of violence fea-
tured in the newspapers, Zevallos worked
with the Grupo Chaclacayo, which also
includes Helmut J. Psotta and Raúl Avella-
neda, to compose an artistic response.
During this period the collective moved to
an abandoned house in the Chaclacayo
district on the outskirts of Lima to
marginal identity, free from metropolitan
life and the bourgeois, heteronorma-
tive art scene. The Grupo Chaclacayo
made use of their bodies to produce an
experimental aesthetic that combined
iconoclastic imagery, blasphemy, ritual,
sexuality, and cross-dressing. Even
-
formance component, their mise en scène
as photographs. The works were created
without an audience, and even today, one
can sense the secrecy, fear, and anxiety in
each image.
The name of this series of photographs
comes from Santa Rosa de Lima, a woman
who died in 1617 at the age of thirty-one,
obsessed with purifying her spirit through
the mistreatment of her body. Today
she is the patron saint of the Peruvian
National Police, an institution that has
systematically abused the bodies of
others throughout the modern history of
the country.
Rosa Cordis · 1986 (reedición de 2016) ·
cada una 50 x 37 cm · Performers: Frido
Martín y Sergio Zevallos · Fotógrafos: Sergio
dentro del proyecto Grupo Chaclacayo
Rosa Cordis · 1986 (2016 edition) · Digital
color print · 18 photographs each: 50 x
37 cm · Performers: Frido Martín and Sergio
Zevallos · Photographers: Sergio Zevallos,
Raúl Avellaneda · Work made under the
Chaclacayo Group Project
174 / 175
Curadurías invitadas

curatorial, el Salón contó con tres curadurías, una seleccionada

por convocatoria (Todo lo que tengo lo llevo conmigo, de
Ximena Gama y Pamela Desjardins) y dos invitadas (Proyectos
y proyecciones con nuestros antepasados, de La Usurpadora, y
Filogénesis de la posesión, de Warren Neidich y el colectivo caleño
Helena Producciones).

As a complement to the exhibition made by the curatorial team,

the Salon included three more exhibits: one selected in an open
call (All That I Have I Carry With Me, by Ximena Gama and Pamela
Desjardins), and two invited directly (Projects and Projections with
my Ancestors, by La Usurpadora, and Philogenesys of Possession,
by Warren Neidich and the Cali-based collective Helena
Producciones).
Proyectos y proyecciones
con mis antepasados
Projects and Projections with
my Ancestors
Algunas de las investigaciones de La
Usurpadora buscan recuperar artistas
aportes en el campo de las artes durante
su período de actividad no han sido estu-
diados a profundidad o han terminado
siendo desconocidos dentro de la historia
Los sueños del viajero (1978), Traveling
(1979), I want to be a map (1979) y Changing
the landscape
gran interés en el urbanismo. Ese primer
período de su producción culmina con una
de sus obras más interesantes, Proyecto
para sellar el mar

Esta exposición propone un diálogo

a partir de la estrecha relación de

de los pioneros del performance en el limitó a la creación de ciudades utópicas,

a la exploración de los “no lugares” o al
uso recurrente de mapas para trabajar su
(Mompox, 1952), en las décadas de los idea del territorio y el paisaje —como lo
hace en Mapa para estar en dos lugares
a la vez
Considerado uno de los artistas
conceptuales más importantes de la
región Caribe, teórico y crítico de arte, y
fundador del Grupo 44*
desde un lugar mental, como sucede en
Tierra sagrada (1981), o desde su ser ínti-
tardó en dar un giro conceptual a su
mo, como en Bosque interior (1980).
trabajo. En este primer momento, con la
fotografía como soporte principal, abordó
a plenitud las nociones de territorio y
y el performance, entablando un diá-

pero con fuerte carga conceptual.

algunos de sus performances —como
en Reporter con interferencia (1982)
e Información es Poder (1983)—.

-
trand, Fernando Cepeda y Christiane Leseur.
Some of the investigations of “La Usur-
padora” [The Usurper] attempt to rescue
arts that have not been studied in depth,
history of Colombian art.
This exhibition proposes a dialogue
based on the close personal and work-
pioneers of performance art in Colombia
1970’s and 1980’s.
important conceptual artists of the
Caribbean and as a prominent theorist,
art critic and founder of the Grupo 44*,
began his career as a traditional water-
color artist, although his work took a
conceptual turn. At that early stage, with
photography as his main medium, he fully
immersed himself in notions of territory
and landscape, recurrent themes which he
explored in works with a subtle materiality
but a strong conceptual charge.
Los sueños del viajero [The Dreams of the
Traveler] (1978), Traveling (1979), I Want to
- Poder [Information is Power] (1983).
trand, Fernando Cepeda and Christiane Leseur.
be a Map (1979) and Changing the Land-
scape (1979) are works that reveal his
training as an architect and strong
interest in urbanism. That early stage of
his career culminates in one of his most
interesting works, Proyecto para sellar el
mar [Project to Seal the Sea] (1981), shown
at the legendary exhibition Colloquium on
Non-Objectual Art, held in Medellín in 1981.
didn’t limit himself to the creation of uto-
pian cities, the exploration of “non-places”
or the recurrent use of maps to express
his idea of territory and landscape, which
are present in Mapa para estar en dos
lugares a la vez [Map for Being in Two
Places at the Same Time] (1980). Moti-
vated perhaps by his brief training in
theater, he incorporated these concerns
and expressed them on his own body to
speak of the construction of environments
based on mental spaces, as in Tierra
sagrada [Holy land] (1981), or on his per-
sonal experiences, as in Bosque interior
[Inner Forest] (1980).
work turned towards performances,
engaging in a dialogue with the work of
-
rated on some of his works, like Reporter
con interferencia [Reporter with Interfer-
ence/ Jamming] (1982) and Información es
180 / 181
abordaba la problemática ambiental, Esta etapa de su trabajo ha resultado

su serie Visitas y apariciones

del paisaje rural. Así, en Desconcierto

(1982) y en Concierto Desconcierto (2003 Salón Nacional de Artistas (1994).
- presente) encarna a un explorador de
En Proyectos y proyecciones con mis
antepasados
-
interpreta composiciones con el clarinete
tintas, problemáticas similares, entendién-
y la gaita para, gracias a las propiedades
-
-
den a sí mismos, su propia construcción

Pesadillas de un Hombre Rana (1992),

-
morfosis hombre/rana como método de
adaptación y sobrevivencia.
 This stage of his work has been studied
other performances centered on environ- very little, perhaps because of the success
mental problems, using the Magdalena of his Visitas y apariciones [Visits and

theme of works that contemplated the

transformation of the rural landscape. -
Thus, in Desconcierto [Bewilderment] dox medicine with faith healing, and which
(1982) and Concierto Desconcierto [Confu-
sion Concert] (2003-present) he embodies National Salon of Artists in 1994.
an explorer of highly polluted areas in the
Projects and projections with my ances-
tributaries of the urban area of Barran-
tors
approached similar problems from very
pieces, trying to garner the purifying and
different angles, understanding them as
part of a dialogue which included the
the environment.
way in which they saw and understood
The same concern is later seen in Pesadil- themselves, their own construction of the
las de un Hombre Rana [Nightmares of a
Frog Man] (1992), a performance in which way of living within it.
he metamorphoses from man into frog as
a method of adaptation and survival.

182 / 183
184 / 185
Álvaro Herazo
Alfonso Suárez
fuertemente conceptual en la segunda
mitad de la década de los años setenta.
El uso de geografías fantásticas, ciudades
utópicas y la transformación del paisaje
a través del foto-conceptualismo están
muy presentes en sus primeros trabajos,
- painting that he practiced initially.
neció inicialmente.
pioneros del arte de acción o perfor-
mance a principios de los años ochenta.
Performances como Reporter con interfe-
rencia (1982) e Información es poder (1983)
pueden ser vistos hoy en día como obras
arte relacional,
-
ceptual nature in the second half of the
nineteen-seventies. The use of imaginary
geographies, utopian cities, and the
transformation of the landscape through
photo-conceptualism are present in the
himself from the traditional watercolor
It must also be noted that conceptualism
has not been his only major contribution.
of action or performance art in the early
eighties. Performances such as Reporter
con interferencia [Reporter with inter-
ference] (1982) and Información es poder
[Information is power] (1983) can be seen
today as seminal works in the vein of what
rela-
tional art, an unknown term in that period.
Proyecto para sellar el mar · 1981
50 cm, y dos bultos de cemento con
una cinta impresa. Colección Museo
de Arte Moderno de Medellín.
Project to Seal the Sea · 1981
2 color photographs, each 40 x 50
cm, with two labeled bags of cement.
From the collection of the Museo
de Arte Moderno de Medellín.
186 / 187
ha tenido como soporte el uso de su
cuerpo. Sus primeros trabajos perfor-
máticos resultan de claro contenido
ambiental, cuestionan ciertos cambios
a causa de la intervención del hombre
las tradiciones populares y lo religioso,
período establece una conexión mucho
más fuerte con sus raíces momposinas,
altamente católicas; se apropia de ellas
para subvertirlas en su proyecto más
espiritual de la cultura popular.
been based on the use of his body. His
changes in the land that he inhabited,
which were caused by man’s intervention
in nature.
popular traditions and in religion, per-
sonifying angels and saints. During this
period, he established a much stronger
connection with his Momposino roots (the
municipality of Mompox is in the northern
department of Bolívar). In his best-known
project, he appropriates the heavily
Catholic Momposina tradition to subvert it
by personifying the doctor José Gregorio
in the regional spiritual tradition.
Desconcierto · Disconcert · 1981 · Photographic
Serie de 6 Fotografías · C/u: 20 x 25 cms. documentation. Series of 6 photographs
Colección del artista Each: 20 x 25 cms. · Artist’s collection

188 / 189
Todo lo que tengo lo llevo conmigo
All That I Have I Carry With Me

Una curaduría de Pamela Desjardins y Ximena Gama en la sala de

exposiciones del Centro Colombo Americano

Curated by Pamela Desjardins and Ximena Gama at the exhibit hall

of the Centro Colombo Americano
 - -
truida desde el recuerdo, los objetos per-

interior de un cuarto.
hacen parte de una escena más grande
Cada uno de estos momentos se convierte
en la exploración de un universo de la
somos. La puesta en escena y cada uno
memoria y del deseo, pero también en
de los objetos nos ofrecen señales sobre
el intento de enunciación de un pasado
cómo establecemos, a través de su pose-
sión y de su uso, una relación con el otro;
imágenes se desfasan de su ámbito
en otras palabras, nos permiten hablar de
comunidad, tiempo y territorio.

Hoy la exposición se abre a un recorrido en ocasiones, ha estado atravesada por

situaciones de violencia, trauma y, sobre
por María Teresa Hincapié. De allí parte y todo, de silencio. Por eso, retomando las
allí termina. Son diferentes maneras de
-
un relato de lo privado a lo público. En el da para hablar de sí mismo es describien-
sentido estricto de la palabra, las cosas do las cosas de uno, las cosas concretas”.
- Es decir, en la materialidad de los objetos
ten y, sin embargo, aparecen en toda su estaría el lugar de la resistencia.
materialidad: la imagen documental de un
This exhibit stands as an exercise in the
archaeology of memory, but also the
archaeology of the present. It is an explo-
ration that recovers intimate, domestic
and communal spaces, which make up
a larger scene and determine what we
have been and still are. The staging and
selected objects provide us with signals
about how, through their possession and
use, we establish relationships with the
Other; that is, they allow us to speak of
community, time and territory.
The exhibition opens onto a journey which
brings back María Teresa Hincapié’s spiral.
It starts from there and there it ends. It
shows different ways of arranging what we
have and creating a public story about
our private realms. In a strict sense, the
things presented in this show do not exist,
but they nevertheless appear in all their
materiality: a documentary picture of a
neighborhood, a wooden house rebuilt
from memory, the lost or imagined objects
ads, and the interior of a room.
Each moment turns into the exploration of
a universe of memory and desire, but they
are also attempts to enunciate a past and
an imagined present. Here, these images
are out of phase with their intimate and
personal dimensions and trace a map of a
and that, on occasion, has been criss-
crossed by situations of violence, trauma
and, above all, silence. For that reason,
we go back to Herta Müller’s words from
an interview: “the only way to speak of
oneself which remains to us is to describe
one’s things, concrete things.” In other
in the materiality of objects.
192 / 193
Juliana Góngora
Juliana Góngora tiene tres recuerdos
de la casa en el Tolima donde vivieron
su abuelo y su padre, y donde pasaba
donde veía pasar los perros y las vacas. Los
recuerdos de su padre eran otros: su catre,
pero también la cuja de su abuelo, donde
dormía todas las noches, un tipo de cama
artesanal forrada de cuero común para
conservar la frescura en climas calientes.
su abuelo. Teje una sábana con granos de
deja ver el interior de una habitación en
donde solo es posible percibir el paso del
tiempo a través del sonido ambiente y de
La austeridad del descanso de su abuelo
contrasta, en este caso, con el tiempo
de su labor diaria por más de seis meses
La memoria funciona acá de manera
campesina le ha dado insumos para hacer
tiempo sobre esas otras vidas, la de su
padre y la de su abuelo. La obra también
más cotidianos del trabajo en general y, en
las tareas asociadas a lo femenino, como
la costura, el bordado y el tejido. Los
proyectos de Juliana Góngora evidencian
siempre esto, un trabajo dispendioso
y delicado, con la pregunta latente por
el tiempo y el hacer del día a día.
Juliana Góngora has three memories of
the house in Tolima where her father lived,
and where she spent several seasons
constantly laid siege to her, the plastic
rocking chair where she sat, and the patio
door where she watched the passing
dogs and cows. Her father’s memories
were different: his little cot, but also the
cuja, a simple bed where his own father
slept, covered in leather to keep cool
in the hot climate.
Góngora has built a replica of her grand-
father’s bed. She has knitted a sheet with
grains of rice that give testimony to the
industriousness and the agricultural
virtues that cover an absent body. Finally,
through a video, she reveals the interior
of a room where the passage of time is
perceived only through background noise
The austerity of the bed where her
grandfather rested contrasts, in this
case, with the time she spent every day
for more than six months knitting the
covering sheet.
Memory functions ambiguously here:
on one hand, it states that this farm
house has given her material to make
her work, but, on the other hand, it is a
portrait in time of these other lives, those
of her father and her grandfather. The
piece also allows her to speak in general
tasks associated with femininity, such as
sewing, embroidering, and knitting. Juliana
Góngora’s projects always give evidence
to this, a prodigal and delicate way of
time and the day-to-day.
Vista general de Cuja y Puerta (en la pared).

1. Cuja · 2015-2016 · Cuja, madera, 1. Cuja · 2015-2016 · Cuja, wood, cow

leather, rice, thread · Cuja: 110 x
x 180 cm. · Sábana: 80 x 200 cm. 180 cm. · Sheet: 80 x 200 cm.
2. Puerta · 2015-2016 · Video: 3:02 min. 2. Door · 2015-2016 · Video: 3:02 min.

196 / 197
María Teresa Hincapié
Sobre las cosas de hace 26 años
(On the events of 26 years ago).
La acción duró 18 días. En uno de los espa-
cios de Corferias y durante jornadas de
ocho horas, María Teresa Hincapié sacaba
de bolsas cosas comunes y corrientes y
las alineaba en una especie de laberinto o
espiral. Con esta obra ganó el primer pre-
mio del Salón Nacional de Artistas en 1990.
Justo después de una de sus presentacio-
nes le hicieron una entrevista donde le
preguntaron si su performance le hablaba
- that the performance could be seen as
sarse como la labor de una mujer artista
Sin embargo, ella se desligó por completo
de esta posición e incluso dijo, de manera
- spoke about men.” What did she mean to
abrió un espacio de crítica sobre el campo
de la mujer en la esfera pública del arte?
Veintiséis años después es necesario
ausencia de su cuerpo. Es decir, protago-
solo es posible transmitir desde el registro.
En esta lejanía vuelve a tener sentido su
reticencia inicial. En últimas, se trata de un
directa el orden de lo privado en lo público.
La acción de Hincapié abre preguntas
sobre lo cotidiano, sobre el tiempo de
la intimidad, pero también el de la labor
y el trabajo; sobre la carga simbólica e
inherente a los objetos en nuestras vidas.
Sobre todo, abre una pregunta en torno a
los modos de habitar los espacios desde
tiene un lugar y un discurso en el cuerpo,
la memoria, el deseo y la imaginación.
The action lasted for eighteen days. In an
area of the Corferias Convention Center, in
eight-hour sessions, María Teresa Hincapié
pulled common, everyday objects from
place at the National Salon of Artists in
1990. Directly after one of her presenta-
tions she gave an interview where she
was asked if her performance was about
the labor of a woman artist arranging her
domestic objects.
However, she completely denied this and
even bluntly stated that the piece “also
say by that? Why was she so concerned
with avoiding an interpretation that, at
that time, also opened a critical space for
the discussion of the role of women in the
public sphere of art?
Twenty-six years later, it’s necessary to
clarify that this is an action in which
her body is absent. That is to say, the
protagonist here is that which is not here
anymore, that which can only be transmit-
ted through records. In this remoteness,
her initial reticence makes sense again.
Ultimately, this performance directly
produces the private order of things in a
public space.
daily life, about times of intimacy, but
also about labor and work, and about
the inherent symbolic weight of objects
about how we politically inhabit spaces
based on our subjectivity, which allows
an inhabiting that takes place and creates
a discourse that includes body, memory,
desire, and imagination.
Una cosa es una cosa · 1990 · Documentación
en video de performance, XXXIII Salón
Nacional de Artistas, Colcultura · Duración:
22:52 min. · Crédito video: Santiago
Zuluaga · Cortesía Galería Casas Riegner
A Thing is a Thing · 1990 · Video
documentation of performance, XXXIII
Salón Nacional de Artistas, Colcultura
Duration: 22:52 min. · Video: Santiago
Zuluaga Courtesy of Galería Casas Riegner
198 / 199
Catalina Jaramillo
“El 16 de febrero de 1993 fue incendiada
una casa en Medellín. Tras casi veinte
años de permanecer el predio abando-
nado, tuve la oportunidad de recorrer
fragmentos de platos, vasijas, botellas,
Tras un evento violento, el tiempo de la
desalojara su espacio y rehiciera su vida
- the destroyed objects, but to give them
uno poético donde la ruina de una cosa
se convierte en la posibilidad de otra.
ocupaban su lugar dentro de una coti-
dianidad son expuestos como si fueran
recuperar, representan una vida perdida
y ofrecen las señales de esa historia.
Ajuar doméstico es una metáfora sobre
la desesperación de la pérdida, sobre la
relación entre la identidad y los objetos
y, sobre todo, una metáfora sobre cómo
por completo a los procesos de recons-
trucción. En últimas, estos objetos se
muestran hoy como culto a un pasado
“On February 16, 1993, a house in Medellín
later, I had the opportunity to visit the
abandoned ruin and to gather fragments
pots. My intention, in the manner of an
archaeologist, was to reconstruct objects
the life that had been in that place.”
After a violent event, daily life and its
forced a family to leave their house and
make a new life somewhere else. This frac-
ture meant a life change and the search
artist chooses not to faithfully reconstruct
another purpose, a poetic use in which
something ruined is transformed into the
possibility of something else.
Each of these objects, which previously
had a place in daily life, are presented as
if they were archaeological pieces from a
time that has passed and that won’t come
again. They represent a way of life that
was lost, and give signs of this history.
Ajuar doméstico [Domestic Trousseau] is
a metaphor for the desperation of loss,
for the relationship between identity and
objects, and above all, for how the swift-
ness of destruction completely opposes
processes of reconstruction. Eventually,
these objects have become a tribute to a
past that is now memory.
Ajuar doméstico · 2012 · Cerámica y objetos Domestic Trousseau · 2012 · Ceramic and
encontrados en una urna de cristal found objects in a crystal urn
Dimensiones variables · 50 x 180 x 26 cm Dimensions Variable · 50 x 180 x 26 cm

200 / 201
Óscar Moreno
“Existe en las personas en situación de
posibilidades de ser y de habitar los
nuevos espacios, expresado en sus saberes
y creencias tradicionales, en su capacidad
encontrar dignidad en su propia forma de
gestionar sus intereses (...). La pregunta
por la casa es, entonces, una pregunta por
la presencia de su cuerpo, de su memoria
acumulada, de su manera de hacerse un
Mi Casa Mi Cuerpo es el recuento de
inicia en el 2006 en Bellavista Parte
surorientales de la periferia de Bogotá.
familias en situación de migración
En las conversaciones con las familias
aparecen recuerdos y relatos sobre las
les pregunta por estas nuevas formas
del habitar y, a través de la palabra y la
no está. Las experiencias y las prácticas
a aspectos vinculados al orden de lo sensi-
ble, con la intención de comprender la casa
de autoconstrucción progresiva como un
- phenomenon in which diverse perceptions
nes del espacio y temporalidades diversas.
Memoria de Bogotá, donde también se
construyó una casa con las caracte-
rísticas de los barrios periféricos de la
capital y de los otros centros urbanos
- day hundreds of people arrive because of
mente migran cientos de personas.
“There exists within people in situations
of forced migration an entire universe of
possibilities of being and of inhabiting
new spaces, expressed in their traditional
knowledge and beliefs, in their capacity to
ways of managing their interests (...). Any
it and who transforms it in their daily life,
who imparts on it the presence of their
body, of their accumulated memories, of
their way of making a space and forming
long-term commitments.”
Mi Casa Mi Cuerpo [My House My Body] is
the record of a long-term work that began
in 2006 in Bellavista Parte Alta, a small
neighborhood in the southeastern moun-
tains on the periphery of Bogotá. There,
three families who had undergone forced
migration met and formed relationships
with the artist Óscar Moreno.
In conversations with the families,
memories and stories surfaced about the
houses they left, the objects they miss the
most, and the spaces and places that they
believe they will never see again. Moreno
asked them about their new ways of living
and, through words and imagination, they
reconstruct that which no longer exists.
The experiences and practices that they
have formed since then link to realms of
feeling, with the intention of understand-
ing the progressively self-made house as a
of space and time coincide.
The result was a series of models
presented in the Centro de Memoria
in Bogotá. In the same space, Moreno
built a house typical of the peripheral
neighborhoods of the capital and other
urban centers in the country, where each
forced migration.

1. Mi casa, mi cuerpo · 2006-2014 · Casa de
madera a escala real, madera de pino, teja
2. Mi casa, mi cuerpo · 2006- 2014 · Tres
20 x 40 x 40 cm.
1.
2.
1. My House, My Body · 2006-2014 · Full-scale
wooden house, pine wood, tin-roof · 2.25 x
2.5 x 0.5 m.
2. My House, My Body · 2006-2014 · Three
scale models, bricks, tin sheets, wood,rocks,
thread · Each: 20 x 40 x 40 cm.
202 / 203
Gabriela Pinilla
Gabriela Pinilla lleva narrando desde hace
diez años la historia del Barrio Policarpa.
Una investigación que ha tomado forma a
través de la pintura y el video y que cuenta
el modo como se fueron formando ciertos
barrios de la capital como consecuencia de
la fuerte violencia en las zonas rurales y
campesinas del país. Este tipo de historias
no son nuevas dentro de su obra. Ella en
su trayectoria —y en un actuar político— se
ha ubicado en cierta periferia, rescatando
los relatos que han quedado por fuera de
En este caso, el barrio Policarpa es la
Ciudad Dorada. Una obra de teatro que
desde la voz de sus personajes recrea
la vida de unos campesinos que pierden
sus tierras y se mudan a la ciudad como
única y última opción. Es la historia de un
grupo de habitantes del Policarpa y de
dirigentes políticos que, bajo la batuta
de la resistencia comunista, iniciaron una
lucha para exigir sus derechos y que se les
adjudicara los predios que inicialmente
habían invadido. Es también la historia
del grupo de teatro de La Candelaria que
en los setenta, bajo un acto de creación
colectiva y de resistencia, puso en escena
en el barrio la historia del barrio mismo.
Aquí la representación teatral desfasa
todo tipo de nivel de catarsis. Equivale
más bien a una especie de lucha desde
un acto creativo y de comunidad. En
últimas, qué tipo de cosas merecen ser
contadas y de qué manera se puede
poderle gritar a nadie de que no se trague
el cuento de que nuestra vida es puro
más ciertas que la mismísima verdad”.
[Por un error, el tex to en el catálogo impreso
no corresponde al proyec to expuesto. Presen-
tamos excusas a la ar tista y las curadoras de
la muestra.]
For the last ten years, Gabriela Pinilla has
been narrating the history of the Policarpa
neighborhood. It is an investigation that
has materialized in paintings and videos,
that shows how some neighborhoods
of Bogotá took shape as a response to
the strong violence in rural zones of the
country. Stories like this are not new in her
work. In her carreer —and in her political
convictions— she has assumed a kind
of peripheral position, rescuing stories
discourses.
In this case, the Policarpa neighborhood is
Ciudad Dorada [Golden City]. It is a theatre
play that uses the voices of its characters
to recreate the life of campesinos that
have lost their land and migrated to the
city as their one and only option. It is the
history of a group of Policarpa dwellers
and of political leaders that, inspired by
their rights and for the allocation of the
properties they had initially invaded. It is
also the history of the Candelaria theatre
group that, in the 70s, as an act of resis-
tance and collective creation, enacted in
the neighborhood the neighborhood own
story.
Here the theatrical representation exceeds
all kind of catharthic levels. It is, rather, a
sort of struggle enacted in a creative and
communal act. It asks, ultimately, what
kind of things deserve to be told and how.
at anybody to not believe so many stories,
lived are more true than the very truth.”
[Because of a mistake, the tex t in the printed
catalogue does not correspond to the projec t
in the exhibition. We apologize to the ar tist
and the curators.]
Ciudad Dorada · 2016 · Acrílico sobre pared Golden City · 2016 · Acrylic on wall
Dimensiones variables · 2.6 x 6.64 m Dimensions Variable · 2.6 x 6.64 m

204 / 205
Luis Roldán
Luis Roldán lleva más de 12 años reco-
casas en periódicos de Estados Unidos.
En todos aparece lo mismo. La imagen
en blanco y negro de la fachada con su
respectivo jardín. La mayoría son casas
describe casi nunca cambia. Es la casa
por algunos elementos particulares: el
tamaño de la cocina, el número de cuartos
y de chimeneas o los metros cuadrados
avisos nacionales y, por lo tanto, muestran
se encuentran, pero casi no importa,
A partir de este archivo, Roldán hace otro
mapa. Primero dibuja en negro las parti-
eran reales se convierten de nuevo en
sobre la idea de una casa ideal o soñada.
- originally dealt with the theme of archi-
promesas del desarrollo y una economía
viciada por un modo de vida y de consumo.
Luis Roldán has spent over twelve years
collecting advertisements of houses for
newspapers in the United States. The
same things come up in all of them: a
black and white image of the front of the
house with its garden. The majority are
large, suburban houses. The descriptive
paragraph almost never changes. It is
always a perfect house that varies only in
number of bedrooms and of chimneys, or
ads come from all over the country and
include maps of where they are located,
but the location is almost irrelevant;
it is the same house in every place.
From this archive, Roldán makes another
map. First he makes a drawing in black
and white of the architectural details of
each house, leaving only the silhouette.
The houses that were previously real are
converted again into models. From this
drawing, he abstracts all of the informa-
tion and begins to work on the idea of an
ideal or dream house.
Ten years later, this project, which
economy. Through architectural symbols
that occur again and again, Roldán’s
houses form a cartography that delimits
the promises of development, and an
economy that is addicted to a certain
style of life and of consumption.
Esta semana · 2016 · Instalación This Week · 2016 · Printed paper, ink,
Papel impreso, tinta, sanguina, frottage sanguine, frottage on paper · 2 x 4 x 3.5 m
sobre papel · 2 x 4 x 3.5 m

206 / 207
The Phylogenesis of Possession

Una curaduría de Warren Neidich y Helena Producciones en la

Universidad Tecnológica de Pereira

Curated by Warren Neidich and Helena Producciones at the

Universidad Tecnológica de Pereira
La muerte en este jardín

antiguo conjuro, y ronda infantil, chamánico

Camilo Vega*

(Pereira, 2016) producción artística es generosa, en su curadu-

puede pensarse como un contrapunto altera-
do de (Berlín,
2013), elaborada bajo el signo de la cicatería
(the greedy vs. the generous) y curada, esta
última, a través del phármakon. Más allá,
constituye la ampliación de un territorio. La
primera cronológicamente, concebida como
una “Trienal de esculturas al aire libre” en el
Prinzessinnengarten (Jardín de la princesa)
de Berlín, acopiaba las diferentes formas de
desarrollo de la generosidad reinantes en
dicha ciudad y ejemplarmente cifradas en
La segunda, por su parte, inicialmente, y casi
ría
—en sus propios términos— “restaurasen sus
prioridades [las de la generosidad artísti-
ca] como una forma política de abundan-
te resistencia”. Un tal leitmotiv e intención,
posesión se inscribe, no puede sino resultar
cándido o, a lo sumo, desfasado.
cual se compone -
sión es el phármakon
separa conceptualmente de
de la generosidad es el territorio. Esta dis-
tancia puede apreciarse de modo efectivo

bajo una lógica diferente más afín al terri-

bien uno de los leitmotivs

reincidentes muestran: todas, en cada caso,
la primera era el interrogante acerca de si la
diferentes. También en los artistas y obras

*(Cali, Colombia, 1976) Candidato a doctor por la Universidad Autónoma de Madrid e investigador
Ha participado en varios eventos nacionales e internacionales con comunicaciones y ponencias. Asimismo
ha acompañado algunos proyectos de Helena Producciones o de algunos de sus miembros como Ana
Death in This Garden

v.a. is phylogenizing,

Who will disphylogenize it?

The disphylogenizer

Who disphylogenizes it and will be a good disphylogenizer

[repeat three times, adjusting as needed]

shamanic ancient incantation and children’s song

Camilo Vega*

The Phylogenesis of Possession (Pereira,

2016) can be thought of as an altered coun-
terpoint to The Phylogenesis of Generosity
(Berlin, 2013), developed under the sign of
avarice (greedy vs. generous) and curated
around the concept of phármakon. Even
more, it constitutes the expansion of a
“Triennal of Open-Air Sculpture” in Berlin's
Prinzessinnengarten (Princess Garden),
linked different manifestations of the
development of generosity that predomi-
nate in that city and that are encapsulated
in the dynamics through which the garden
operates. Initially, and almost until the
end, the second event was designed to be
situated in the emblematic Olaya Herrera
Park in Pereira, another “garden,” which
conforms to a logic more common to the
territory in which it is located. And consid-
ering that one of the leitmotifs that arose
of whether artistic production is itself
generous, its curation tended towards
interventions that, in the words of the
curators, “reinstate the priorities [of artistic
generosity] as a political form of abundant
resistance.” This leitmotif and intention, in
the context in which The Phylogenesis of
Possession exists, cannot help but be seen
as naive, or at most, outmoded.
It was mentioned earlier that The
Phylogenesis of Possession is centered on
the concept of phármakon and that the
point at which it conceptually distinguishes
itself from The Phylogenesis of Generosity
is territory. This distance can be under-
stood in the works of some of the artists
who appear in the exhibition, including
those who have participated in both
(Barney, Millán, Sarria-Macías, Bajo, Cantor,

*(Cali, Colombia, 1976) PhD candidate at the Universidad Autónoma de Madrid and freelance researcher.
in national and international events with papers and commentaries. He has also accompanied several

He lives in Cali.

210 / 211

solo aparecen
en la ubicada en Pereira se pliegan a su moti-
vo aglutinante. Abordando el sentido origi-
nal de phármakon como veneno y remedio,
La
los contiene en su
otros posibles sentidos, implicaciones más
phármakon
tensión entre lo liminal* y lo liminar. Si
bien al indicarla nos situamos de nuevo
en el concepto de territorio (comprendido
también en sentido lato), es en obras
como las de Eider Yangana donde dicha
del “apóstol de la Independencia de Cuba”
y de conceptos como el de “soberanía ali-
mentaria” o de redes como la de “semillas
sobre su proveniencia, puesto y situación

Colombia. Asimismo, acudiendo al ritual y a

escape, llave de acceso a nuevos estados

en esta precisa localización, phármakon

, nuevamente, desde su
trae también su poder destructor (en un
condición (Yangana I).
sentido lato). Asimismo posesión abre un
rango más expandido. Trayendo a cuento
la tierra, el territorio, está su posesión, su
repartición y destrucción. El despojo. Junto oposición light vs. hard en la curaduría,
a la dialéctica producción-explotación,
consumo-exportación, entran en situación
también otros opuestos-en-resistencia phármakon operó
- y, subrepticiamente, sigue operando bajo
una nueva piel. Su obra, aparentemen-
ellos contenidos en el sentido extenso te candorosa, reviste un —acuñamos la
señalado de phármakon, y posesión: la
parte light vs. la hard
encierran y en cuya delgada línea las obras
curaduría, si se tiene en cuenta su objeto,

y rasgos distintivos, todo ello atravesado

trate de una curaduría transnacional no por la meditación alrededor del esoterismo
moderno y sus paradigmas.
una cartografía mental y espiritual más
De esta suerte, preocupaciones caracte-
compleja, de ida y vuelta, del fenómeno de
rísticas de la “cultura de las drogas” (en
la posesión (incluso por espíritus), además
su vertiente contracultural de la década
de entrar en consonancia directa con el
de los sesenta y setenta principalmente)
Seminario Internacional “Psicotropismos:
Drogas, espectros y alucinaciones para la
como la de Warren Neidich (Neidich I). De
transformación del ahora”, enmarcado en
modo transversal, obras como la de Alicia
la sección de formación del Salón.
Barney se inscriben en preocupaciones

objeto * Entendiendo esta liminalidad tanto en su

posibilita, una precisa ser destacada: la sentido técnico psicológico como en el sentido
estructural tal cual ocurre en los “ritos de pasa-
je” (Arnold van Gennep) o en su reapropiación
por la teoría del “proceso ritual” (Víctor Turner).
works that they have displayed in one or
the other. The same goes for the artists
and works involved in only one of the exhi-
bitions, and the way in which those that
only appear in Pereira reveal their binding
motive. Addressing the original meanings
of phármakon as poison and remedy, and
as magic potion, including as a “romantic
draught”, The Phylogenesis of Possession
contains all of them in its purview and
takes the risk of exploring other possible
meanings, broader implications than phár-
makon in the geographic location in which
these works are displayed.
It is more than simply an escape route, or
the key to accessing new (or expanded)
states of consciousness. In this precise
localization, phármakon also contains
destructive power (in the broad sense). The
concept of possession also opens up a wide
range of meaning. Territory is the earth’s
possession, its means of distribution and
destruction. Dispossession. Along with the
dialectics of production-exploitation and
consumption- exportation, other oppo-
sites-in-resistance must be considered in
this curation. These opposites are exempli-
contain wider meanings denoted by phár-
makon and possession: the light part vs.
the hard part, which these terms enclose
and within which the works operate.
- a meditation concerning modern esoteri-
reality. In any case, the fact that this is a
transnational exhibition is not meaning-
less, but permits the elaboration of a more
complex mental and spiritual cartography
of leaving and returning, of the phenome-
non of possession (including by spirits), and
the possibility of a direct consonance with
the International Seminar “Psychotropisms:
Drugs, Specters, and Hallucinations for the
Transformation of the Now,” which is part of
the Salon’s educational component.
Among the various tensions with which the
exhibition operates, and that its purpose
makes possible, is one that should be
highlighted: the tension between the
liminal* and the preliminary. If we address
it by returning once again to the concept
of territory (also understood in the broad
sense), this tension manifests in works
such as those of Eider Yangan. Inspired by
“the apostle of Cuban independence” and
concepts such as “food sovereignty” and
of networks such as that of “free seeds”
provenance, location, and situation in this
“nation despite itself” that is Colombia.
Likewise, turning to ritual and its primary
practical purposes, the artist uses his
anew
(Yangana I).
In a similar manner, although from a differ-
the opposition of light vs. hard into the
curation. Through an elaborate process,
she seeks to exorcise both the terrain and
the memory in which phármakon operated
and in which it surreptitiously continues
to operate under a new guise. Her work,
apparently sincere, revisits a troubling
“future past” (del Sol I), to use the expres-
obvious difference in this exhibition, if one
keeps in mind its purpose, occurs in the
intersection of distinctive characteristics
and periods of time, all of them marked by
cism and its paradigms.
In the same vein, the characteristic
countercultural aspect, primarily in the
nineteen-sixties and -seventies) are
expressly manifested in works such as
those by Warren Neidich (Neidich I). More
adopt the concerns of environmentalism,
which have been recurrent throughout a
* Understanding this liminality as much in its
technical psychological meaning as in its struc-
tural meaning, occurring in “rites of passage”
(Arnold van Gennep) or in its reappropriation
of the of “ritual process” (Víctor Turner).
212 / 213

han sido recurrentes a lo largo de una obra
cuya “primavera silenciosa” viene per-
sistente desde mitad de la década de los
inscrita en la dialéctica presencia-ausencia.
Un elemento adicional también presente en
objeto
implica la exploración de “realidades alter-
nativas”?, es el simulacro. Aunando este a
Jim Shaw se exhibe como ejemplar en tanto
constituye una nueva variación alrededor
el propio Shaw ha dado en denominar
oísmo (oism). En esta línea del simulacro
incisivo entran también las obras de Silvie
aludido a los opuestos realidad vs. fantasía
in nuce, abarcan también
lo real vs. virtual, donde otras obras como
la de Lou Cantor y su “publicidad liminal”,
dialoga con el “futuro pasado” (del Sol II),
el enclave inicial de
posesión
Tecnológica de Pereira (UTP) en el magní-
aprovechar todo el potencial curatorial
nuevo enclave brindaba, Warren Neidich, en
- donde, amén de ser la sobra más impura de
Variaciones para una
nueva consciencia, integra cuatro artistas
narrativa general de la muestra (Neidich II).
La peculiaridad de esta inclusión es el nivel
de participación de estos artistas y obras
- su materialidad.
mados, están Omar Rayo (obra real, in situ:
in
situ
relato); entre los casi famosos están Andrés
Barrios (obra real, in situ
in situ:
Mención aparte merecen otro puñado de
participan en la reiterada y nuclear oposi-
ción light vs. hard
Una distancia tal puede medirse y percibirse
-
tes marginados, y los efectos —en un sen-
tido lato, no solo referido a los meramente
como las de Jeremy Shaw o Ana María Millán
en breve) se ocupan de las primeras, obras
Claudia Patricia Sarria-Macías se ocupan de
hace proponiendo una mirada crítica sobre
de la cocaína.
(après Víctor Turner), así como sus “sueños
través de un sencillo cigarro liado de tela
de araña. Al hacer alusión a los residuos
(industriales) de las drogas duras y/o más
elaboradas y su conexión con lo marginal, ni
se buscaba apuntar a nuestro caso concreto
phármakon
par excellence de los marginados y despo-
de Sarria-Macías indirectamente apunta: a
marginados y, en el fondo, preocupado
relevant since the middle of the nine-
teen-seventies. Barney's piece, for its
part, is inscribed with the presence-ab-
sence dialectic.
An additional element present in the
exhibition (what if its purpose didn’t entail
previously mentioned intersections, Jim
Shaw's work is an example of a new varia-
thread of incisive simulacra also includes
discretely alludes to the opposites, reality
and fantasy, that, in a nutshell, also encom-
pass the real vs. the virtual, by which other
Maybe this is the right time to point out
something that we previously neglected. It
was mentioned that the planned site of
The Phylogenesis of Possession was Olaya
Herrera Park. However, it was eventually
changed to the Technological University of
of Fine Arts. This displacement permitted
the full use of the curatorial potential that
its “airport” (actually another “garden”)
affords. Taking advantage of the possibil-
ities that the new site provides, Warren
Neidich includes four other artists and
the general narrative of a collaborative
performance that he initially intended to
call Variations for a New Consciousness.
(Neidich II). This inclusion is distinguished
by the degree to which its artists and works
exist in the realm of what is considered
are renowned artists such as Omar Rayo
-
, in
statement); among the almost famous are
is her statement).
Another handful of works deserves special
mention. The works, to various extents,
participate in the reiterated, nuclear
opposition of light vs. hard that underlies
the exhibition. They measure and perceive
processed drugs and their byproducts
effects that they produce in their consum-
ers in a broad sense, not only referring to
the merely psychoactive. While the works
by Jeremy Shaw and Ana María Millán
(although there is a small nuance in Millán’s
-
cerned with the former, the works of Tomás
Sarria-Macías address the latter. The afore-
mentioned nuance in Millán's work consists
of the fact that it is concerned with one of
the highly processed drugs, taking a critical
the cocaine business.
Saraceno, for his part, appears to want
to demonstrate that “the power of the
weak” (après Victor Turner), as well as
through a simple cigarette rolled from a
spider's web. In alluding to the industrial
residue of hard and/or more-processed
drugs and their connection with the
marginal, not only the “lower classes,” he
tacitly notes that bazuco, a smokeable
most impure byproduct, is the phármakon
par excellence
dispossessed. It is well known that in its
process to which the work of Sarria-Macías
indirectly alludes: its materiality.
our very sui generis forms of demographic
control, intends with his performance to
214 / 215
por las muy sui generis formas de control
performance reactivar y evidenciar la
aterradora pertinencia de las problemáticas
Muñeco
- desposesión y generosidad, es harto tenue.
sobreviven los marginados? Si en la obra
mecanismos informales de subsistencia
de los marginados, cuyas estrategias de
sobrevivencia están soportadas en redes
de reciprocidad
pregunta implicaría la corroboración de un
reciprocidad es una
de las modalidades de la generosidad.
reactivate and demonstrate the fright-
ening relevance of the problems raised
by this work. Beyond that, Muñeco may
informal mechanisms of subsistence of the
are supported by networks of reciprocity,
something tacitly understood: the line that
exists between dispossession and generos-
ity
that reciprocity is one of the modalities
of generosity.
216 / 217
218 / 219
Elena Bajo

- For those who live in both producing and

consuming countries, one of the most
common and archetypal mass media

como consumidores, es la disposición de of cocaine and heroin, is the display of

ordenadas sobre el piso para permitir con- of police stations so that the public can
tarlas y exhibirlas, como usualmente se ve
en los noticieros. En Angustia cósmica la interested in the role of the lime used to
artista reconstruye una imagen cercana al make coca base, works with these “bricks,”
- most of which were imprinted with real
cados en bolsas de plástico y dispuestos coca leaves. In an almost hyper-realis-
sobre el piso. Interesada por el papel de tic way, this work approaches an image
shown, over and over again, by the mass
media and inscribes itself in one of the
mayoría, presentan improntas de hojas central concerns of the exhibition: the
narrow edge between the real and the
el prensaje. De forma casi hiperreal, este imaginary, and the communicating vessels
trabajo se acerca a una imagen producida between both realms.
y reproducida constantemente por los
mass media
una de las líneas curatoriales de la exhibi-
ción: la delgada frontera entre lo real y lo
imaginario, y los vasos comunicantes entre
uno y otro territorio.
 2016 · Instalación Cosmic Distress · 2016 · Installation
Dimensiones variables Dimensions Variable

220 / 221
Alicia Barney
Barney ha sido una de las pioneras en
explorar las relaciones entre arte y ecolo-
gía en Colombia, y esta instalación es un
buen ejemplo de sus intereses. A partir
de elementos como árboles y mantas de
los observadores sientan la precariedad
de su espacio dentro del orden natural.
Este trabajo remite a Viviendas (1975), una
de la obras tempranas de Barney, donde
y hasta distópica. En Nueva sensibilidad,
antigua presencia, la intervención estaría
más en el terreno de lo posible, desper-
tando nuestra primigenia necesidad de un
rito de participación con la tierra.
Barney has been a pioneer in the explo-
ration of the relations between art and
ecology in Colombia, and this installation
is a good example of her interests. Using
elements like trees and delicately tied felt
blankets, the artist points to a place and
constructs it so that the spectators feel
their precariousness within the natural
order. This work harkens back to Vivien-
das [Houses] (1975), one of Barney’s early
works, where the relationship between the
city, architecture and nature is shown to
be undesirable and even dystopian.
In Nueva sensibilidad, Antigua presen-
cia [New Sensibility, Old Presence], the
possible, awakening our primal need for a
ritual of participation with the earth.
Nueva sensibilidad, antigua presencia New Sensibility, Old Presence · 2016
2016 · Instalación · Dimensiones variables Installation · Dimensions Variable

222 / 223
Silvie Boutiq
- The artist, dressed in the “saurological”*
dar a la sauróloga* Regina 11, aborda a
estudiantes de la Universidad Tecnológica
de Pereira, y a visitantes de la exposición,
para conversar acerca de los lugares
comunes alrededor del arte, del ser
artista o del “crear obra”, en un intento de
deconstruir imaginarios y convencerlos de
a la escuela no sea necesario. En ciertos
casos, cuando alguno de los interpelados
pertenece al establishment del arte, y si
la ocasión o el personaje en cuestión lo
cariñosos cifrando en tal gesto la triple
condición de la artista: madre, maestra y
reginista. En sus propias palabras: No voy
a hacer la obra en sí, porque sería muy
mala; más bien quiero hacer una acción y
mostrar que es mejor no hacer una mala
obra, que hacerla.
* De “saur”: sabiduría universal reginista, la
saurología
los poderes mentales”.
style of Regina 11, a self-styled sorceress
whose campaign logo was a witch’s broom
and whose following among the popular
classes of Bogotá once won her a Senate
seat, approaches students from the Tech-
nological University of Pereira and visitors
to the exhibition to remark on certain
platitudes about art, being an artist or
“creating a work of art,” with the idea of
deconstructing imaginary perceptions and
convincing them that you don’t necessarily
have to study art to be an artist or “create
a work of art.” In certain cases, when one
of the participants belongs to the art
“establishment”, or if the personage in
them with a sandal, a ciphered gesture of
her triple condition: as an artist, a mother,
and follower of Regina 11. In her own
words: “I am not going to make a work of
art in itself, because it would be very bad:
instead, I want to engage in an action and
show that it is better to not make a bad
work of art than to make it.”
* From “saur” the initials in Spanish of
“Regina’s Universal Wisdom”, aimed, per Regina
11, at “developing your mental powers.”
Soy una vaga y no quiero hacer nada · 2016 I am a Lazy Woman and I Don’t Want to do
Performance Anything · 2016 · Performance

224 / 225
Lou Cantor

Esta obra se pregunta cómo lucirá el

comercio en un futuro trans o post huma- commerce in a trans- or post-human
future will look like. The vagaries of
commodity fetishism and the inexorable

estados cognitivos mismos serán objeto that cognitive states themselves will be

compañía como la imaginada por Lou

A company such as the one imagined by
Cantor se posiciona como un dealer de
Lou Cantor positions itself as a dealer in
experiencia tal como los agentes de viajes
experience in the same way contemporary
-
cias boutique en el mundo físico. El viaje
in the physical world. The journey to the
al centro de la mente a través del peyote
center of the mind that Spiritual Reality
Realidad espiritual no es,

prerogative of human customers; the

los clientes humanos: la compañía busca
company actively embraces the needs and
apelar activamente a las necesidades y
desires of a client base composed of sili-
placeres de una clientela compues-
con lifeforms with minds housed in circuit
ta por formas de vida de silicio, con
boards. (Text by William Kherbek).

(Texto de William Kherbek).

 1.

2.

1. ...y lo atenúa · 2013-2016 · Códigos 1. ...and subdue it · 2013-2016

QR montados en palos de madera QR codes installed on pieces of
Dimensiones variables wood · Dimensions Variable

2. Ilustración cortesía de los artistas. 2. Illustration courtesy of the artists.

226 / 227
Corazón del Sol
con dos obras. En Belleza durmiente aplicó
la lógica de la espuma para crear una
ofrenda hacia y desde el hogar de infancia
de la artista en la calle 13 Norte de Cali y
hacia su hogar temporal en la Universidad
Tecnológica de Pereira.
calle 13N, donde la artista construyó una
gigantesca escultura de dulce hirviendo
y familiares compartían historias del
pasado. La escultura se convirtió en una
geografía de recuerdos fusionada (e
“infusionada”) con momentos sin forma o
Sombras sueños persistentes, es una
exploración virtual donde el personaje
navega viñetas planetarias con elementos
Ganar para perder corretea por el territo-
with two pieces. In Sleeping Beauty, del
Sol applied the logic of foam to create a
to and from the artist’s childhood
home in Cali’s North 13th Street to and
its temporal home in Pereira at the
Technological University.
In an empty lot on North 13 th Street, the
artist built a giant candy sculpture by
-
until foaming over and over, while friends
and family shared stories of the past. The
sculpture became a geography of memo-
ries, fused and “infused” with moments of
formlessness or pre-form: a topographi-
cal distortion.
Her second piece, the videogame
Shadows Lingering Dreams, is a virtual
exploration in which the main character
is a couple with three legs that navigates
a series of planetary vignettes, with the-
matic elements that oscillate between
absurd dreaminess and narrative vehicles
exploring feminine archetypes. The player
in Win to Lose scampers through the ter-
ritory of a creator, and attains material
world, but that also hold the power to
destroy what it has created for itself.
 1.

2.

1. Belleza durmiente · 2016 · Escultura 1. Sleeping Beauty · 2016 · Sculpture

Dimensions Variable
variables
2. Shadows Lingering Dreams · 2016
2. Sombras sueños persistentes · 2016 Videogame
Video juego

228 / 229
Wilson Díaz
En Colombia se extendió el uso macabro
de la palabra “muñeco” para referirse a los
de las ciudades a partir de los años 70 y
durante las décadas siguientes. Entre los
muertos había un número considerable
de indigentes, travestis, pandilleros y
otros “indeseables” asesinados por los
social —coincidencialmente, el primer
ejemplo de estos grupos en el país surgió
en Pereira, en 1979—.
acción. La primera fue en 1993, dentro del
primer Festival de Performance y Acción
Plástica, en el andén del Teatro Jorge
Eliécer Gaitán en Bogotá, y la segunda, en
2001, en la estructura exterior del Palais
de Tokio en París, en ese entonces cerrado
y convertido en dormitorio de inmigrantes,
vagabundos y borrachos. En esta versión,
cara, ingiere un somnífero y se echa sobre
interviene en circuitos de indigencia y
señala, a partir de experiencias persona-
les, el contexto de exclusión y eliminación
In Colombia, the macabre use of the
word “doll” to refer to the corpses left
on the outskirts of big cities was widely
used during the violent murder of mar-
and continued for decades. Among the
victims were a large number of vagrants,
transvestites, gang members, and other
“undesirables,” murdered by so-called
coincidentally, emerged in Pereira in 1979.
This is the third time this action has been
-
tival, held on the sidewalk outside the
Jorge Eliécer Gaitán Theater in Bogotá, and
the second, in 1991, in the exterior of the
Palais de Tokyo in Paris, which was closed
at the time and was used as a dormitory
by immigrants, vagrants and drunks. In
this version, as in the previous ones,
only allows us to see his face, swallows a
sleeping pill and lies down on some card-
board to sleep. It is a work that points out
cycles of homelessness and that, based on
personal experiences, comments on the
context of exclusion and social elimination
that has become a feature of Colombian
life. The fact that Pereira was the birth-
in the country gives this third version an
especially strong resonance.
Muñeco · 2001-2016 · Performance Doll · 2001-2016 · Performance

230 / 231
Ana María Millán
Un collage hecho a partir del villano
sus poderes de la droga, se ilumina por
de una selva convertida en un splash grá-
tan solo un recuerdo de un sistema
y del cual ahora cada uno de nosotros
es el administrador virtual”. Bajo estas
palabras, aparentemente crípticas, la
artista propone un movimiento de resig-
las drogas”, así como la construcción
imaginaria de la “Nueva Grenada” (sic. en
“inhóspitas” junglas elaboradas desde la
visión hegemónica del “Imperio del bien”.
“Política de los afectos” y las mutaciones
contemporáneas del deseo. Esto último se
hace evidente gracias a una de las líneas
La cocaína es
mi dios. Y yo soy el humano que hace de
instrumento para su deseo.
A light box illuminates a collage based
on the drug-powered super-villain Snow-
a representation of a jungle turned into
a graphic “splash”. “That which one day
was landscape and material is now chem-
ical information, and only represents a
reminder of an economic system that
speculated, exploded, and failed, one
where each of us is now the virtual
administrator.” These apparently cryptic
words are the artist’s veiled way of pro-
doubtful, of a “war against drugs,” as
well as the imaginary construction of the
“Nueva Grenada” in the comic strip [which
refers to the colonial name of Colombia,
“Nueva Granada” (New Granada), with an
“e” instead of an “a”] and its “harsh” jun-
gles, depicted from the hegemonic point
of view of the “Empire of Good.”
what have some called “Cognitive Capital-
ism,” which the artist prefers to place in
the contemporary mutations of desire.
The latter becomes evident in one of the
my god. And I am the human instrument of
its desire.”
 2016 · Collage in lightbox
60 x 122 x 5 cm 60 x 122 x 5 cm

232 / 233
Warren Neidich
Las dos obras del Neidich en
de la posesión articulan varios de sus
intereses: la fotografía, la neurociencia
alteran las experiencias y los estados
alterados de conciencia. La primera, The
Point Lobos Studies for a 21st Century
Photo Consciousness [Los estudios de
Point Lobos para una foto-consciencia
del siglo 21], parte de un recorrido por
una reserva natural de California donde
Edward Weston tomó algunas de sus
más importantes de la época moderna—.
-
“actuaron como drogas y dominaron mis
pensamientos y mi imaginación”.
La segunda obra, titulada The
Misinformation Guides [Los guías de la
-
miento en nuestra época, donde la duda
y el autocuestionamiento son la base del
capitalismo comunicativo.
de la Universidad Tecnológica de Pereira
participaron en un taller de performance
de la exposición, haciendo narrativas
-
tradas en el campus.
-
sición con la pregunta: “¿realmente experi-
The two works of Neidich in The Philo-
genesys of Possession articulate several
of his interests: photography, cognitive
neuroscience, how expectations condition
experience, and altered states of con-
The Point Lobos
Studies for a 21st Century Photo Con-
sciousness, started as a trip to a natural
reserve in California where Edward Weston
took perhaps some of modernism’s most
important photographs. Before the jour-
which, per the artist, “acted like drugs and
possessed my thoughts and imagination.”
The second piece, titled The Misinforma-
tion Guides, aimed to create a dialectic
that is at the very heart of thinking in
our contemporary age, where doubt and
-
nicative capitalism.
In this work, ten art students from the
Technological University of Pereira took
part in a workshop of performance meth-
ods to create parallel visits to the show
alongside works already found on campus.
about what they were going through: “Did
I really experience what I thought I expe-
by a machinist program?”
 1.

2.

1. Los guías de la desinformación · 2016 1. The Misinformation Guides · 2016

Performance · Fotografía cortesía
del artista.
2. Los estudios de Point Lobos para una
foto-consciencia del siglo XXI · 2016
4 fotografías: 68 x 49 cm.
Performance · Photograph courtesy
of the artist
2. The Point Lobos Studies for a 21st Century
Photo Consciousness · 2016 · 4 photographs:
68 x 49 cm.

234 / 235
Claudia Patricia
Sarria Macías
en evidencia tensiones de un contexto
y constante lucha contra la idea de un
cosa, solo es posible si tiene un lugar
y encubre el discurso del progreso y la
seguridad. En Preservorio, los ladrillos
recuperados de viejas construcciones
traen a colación la cercana y trágica
ha escrito capítulos de desposeimiento,
injusticia y explotación. Los chircales,
o la constante de un paisaje de barrios
densos con el color característico de lo
inconcluso, revelan la exclusión del obrero
se nutren del delirio de la evasión.
This work belongs to a series that shows
the stresses of an urban context that is
involved in a constant struggle against
the idea of an established order where
everything and anything is possible
only if it has its proper place and covers
the discourse of progress and security.
In Preservorio, bricks recovered from old
buildings remind us of the narrow and
tragic relationship between this material
and poverty. The union behind the
chapters of dispossession, injustice and
exploitation. The artisanal brickworks,
or the constant presence of crowded
neighborhoods where everything seems to
working class that helped to build cities,
just as the remains of a ruined wall are
nourished by the delirium of evasion.
Preservorio: Dispensador de polvo de
ladrillo (Dispositivo para evitar el consumo
y deterioro del patrimonio arquitectónico de
las ciudades) · 2016 · De la serie: Prototipos
para la implementación de amoblamientos
urbanos de carácter estético-social
Instalación · Dimensiones variables
Fotografía cortesía del artista
Preservoir: Brick Dust Dispenser (device to
avoid the consumption and deterioration of
the city’s architectonic heritage)
2016 · From the series: Prototypes for the
Implementation of Urban Furnishings with
an Aesthetic-Social Character · Installation
Dimensions Variable · Photograph courtesy
of the artist
236 / 237
Jeremy Shaw
En esta instalación de 8 canales, Jeremy
individuales con videos de entrevistas,
embarcados en viajes inducidos por
el híper alucinógeno dimetiltriptami-
na (DMT). Con estructuras temporales
sujetos en tiempo real durante el viaje
de 15 minutos y en otras mostrando el
recuerdo de sus experiencias justo
después, con subtítulos— Shaw fusiona
estrategias del arte conceptual, el perfor-
mance y el documental, con una versión
del arte psicodélico basada en textos.
In this 8-channel video installation
-
with talking-heads style videos of young
subjects high on the hyper-hallucino-
gen dimethyltryptamine (DMT). Using
overlapping time structures, one which
shows the subjects in real time during the
15-minute high, and one which recollects
their experiences immediately after the
-
ceptual art strategies, performance, and
documentary with a text-based version of
psychedelic art.
DMT · 2004 · Videoinstalación de 8 canales DMT · 2004 · 8 channel-video-installation

238 / 239
Jim Shaw
Inspirado por películas como Carnival of
Souls y The Mask, esta obra explora la
de la década de los años 60, como parte
de la serie de películas del proyecto Oist
del mismo Shaw. En The Whole: A Study
in Oist Integrated Movement [El Todo: un
estudio en el movimiento integrado Oist,]
Busbey Berkeley con los bailes esotéricos
iniciáticos de líderes espirituales como G. I.
Gurdjieff. Estas conexiones improbables y
absurdamente cómicas son inherentes a la
de la vida a través de malinterpretacio-
nes”, la práctica de Jim Shaw parece ser un
complejo para liberar la mente tanto del
artista como del espectador.
Inspired by movies like Carnival of Souls
and The Mask, this piece explores the aes-
-
ect, Oist The Whole: A Study
of Oist Integrated Movement the artist
orchestrates a symphony of gestures to
the extravagancy of Busbey Berkeley’s
of spiritual leaders such as G.I Gurdjieff.
These implausible and absurdly comical
connections are inherent throughout the
artist’s work. Having once stated that one
could, “understand the meaning of life
through misinterpretation,” Jim Shaw’s
practice seems consciously layered and
complex in its effort to liberate the minds
of both artist and viewer.
El todo: un estudio del Movimiento integrado
Oist · 2009 · Video 08:37 min · Cortesía del
artista y de la Galería Blum & Poe, Los
Ángeles · Nueva York · Tokio y Simon
Lee Gallery
The Whole: A Study in Oist Integrated
Movement · 2009 · Video · 08:37 min
Courtesy of the artist and Blum & Poe
Gallery, Los Angeles · New York · Tokyo and
Simon Lee Gallery
240 / 241
Eider Yangana
Dentro de esta exposición, Yangana
artista ha desarrollado con diversos
materiales a través de su accionar a nivel
de proporción y disposición energética en
el espacio expositivo.
En la primera obra, titulada Se recoge y se
libera, el artista oscila entre dos posturas
—una recta y contenida, la otra inclinada y
de recolección— frente a unos recipientes
de contener en reciprocidad con un movi-
miento de apertura, acentuando la noción
de ciclo y transformación.
La segunda obra, titulada Toda la gloria
del mundo cabe en un grano de maíz,
sostiene el artista. En la disposición de
colores, tanto en la vestimenta del artista
busca sugerir una lectura de carácter
simbólico en relación a la imagen de la
bandera, aludiendo a la idea de soberanía
(también alimentaria) y nación en el con-
texto latinoamericano.
Resguardo Indígena de Rioblanco Sotará,
donde vive el artista.
This exhibition features two performances
by Yanagana that showcase the close
relationship the artist has developed with
diverse materials, in actions that alter the
proportion and disposition of energy in
the exhibition space.
Se recoge, se libera
[You Gather and You Release], the artist
oscillates between two positions in
straight and contained, the other bend-
ing over to collect the water. It is a work
-
ment as being in a reciprocal relation
with opening up, thus accentuating the
notions of cycles and transformation.
His second work, titled Toda la gloria del
mundo cabe en un grano de maíz [All the
World’s Glory Fits in a Kernel of Corn], is a
artist. Eider’s arrangement of colors, both
in the artist’s clothing (red and blue) and
the white sack covering the yellow corn,
suggests a symbolic interpretation of the
are red, blue and yellow), and alludes to
the ideas of sovereignty (applied also to
food) and of the nation in the context of
Latin America.
indigenous reservation of Rioblanca
Sotará, where the artist lives.
 1.

2.

1. Toda la gloria del mundo cabe en un grano
de maíz · 2016 · Performance-instalación
25 min
2. Se recoge y se libera · 2015-2016
Performance
1. All of the World’s Glory Fits in a Kernel of
Corn· 2016 · Performance-instalation · 25 min
2. You Gather It and You Release It · 2015-2016
Performance

242 / 243
Aún desde una perspectiva editorial
AÚN, from a publishing perspective
Exergo publicación de catálogos y de memorias,
hay ejercicios de construcción de archivo
Basta un paneo rápido sobre el terreno

de unas y otras instituciones. Hay, ade-

más, fundaciones, oenegés, empresas
parte de un ejercicio de absorción de
consolidadas y monopolios editoriales con
ánimo de lucro, y todos publican libros
con feeling
artista en Colombia”—distintos agentes
los primeros lugares de ventas en el país.
del campo artístico se han convertido
en editores, escritores y diseñadores
de publicaciones. Proyectos artísticos
personales, colectivos de diseño y campo artístico editorial en Colombia no
autopublicación, empresas editoriales, solo está lleno de oportunidades, sino

usan el objeto libro y sus derivados como

Cuando una erupción tal de publicaciones
vehículos de producción de sentido enri-

y refrescan el medio editorial en Colombia.

Y con el mercado llega la pregunta por
Hablar de diseño y publicación indepen-
diente en el país es hablar también de
colectivos artísticos: La Silueta, Tangrama,
Así pues, hay un mercado empujado por
Caín Press, Jardín Publicaciones, Por
una cultura hipster de lo cool, y hay otro
Estos Días, El Peregrino, Matera, Perra
promovido por la academia y validado
Lúcida, Salvaje, Rat Trap, Calipso Press y
como “relevante”. Una relevancia construi-

individuales publicados en fotocopias,

y desde una mirada hegemónica sobre los
ediciones limitadas en risografía o proce-

por intereses explícitos —y algunas veces

gastando el tóner familiar, son apenas
encubiertos— de favorecer un punto de
vista por encima de otros.
publicación artística independiente en
cool? ¿Es
deja huellas en el monte.

Por otro lado, las instituciones culturales,

como para hacerle un libro? ¿Es esta

menos en unas cuantas capitales del país,

al país en ferias internacionales? ¿Es este
sus programas de estímulos editoriales.
Hay becas públicas para investigación

de investigación histórica, hay premios

relevante para el espíritu de los tiempos y
de crítica, hay convocatorias para
publicaciones seriadas, hay proyectos de
Exergue
years, as part of an exercise in absorb-
ing professional frameworks formerly
unaware of “what it means to be an artist
in Colombia”, different agents in the art
and designers. Personal artistic projects,
design and self-publication collectives,
endless number of practices that use the
book as an object and its derivatives as
vehicles for the creation of meaning, have
possible spectrum of artistic practices on
- that effervescence possible. And with
ing the publishing medium in Colombia.
To speak of independent efforts in design
and publishing in the country is also to
speak of art collectives: La Silueta, Tan-
grama, Caín Press, Jardín Publicaciones,
Por Estos Días, El Peregrino, Matera, Perra
Lúcida, Salvaje, Rat Trap, Calipso Press,
and a number of small, individual publi-
cations that are produced in the form of
photocopies, limited editions risographs,
silk-screen prints, and other home-
made projects that use up the family
toner supply, are just some examples
that demonstrate that independent art
publication in Colombia is an animal that
stomps hard and leaves deep footprints in
the wilderness.
No less noteworthy, is the way public and
private cultural institutions, at least in a
number of major cities, have strengthened
their publishing incentives. There are
public fellowships for published research
art journals, projects for publication of
catalogues and records of events in the
art world, and efforts to assemble the
editorial legacy of this or that institution.
There are also, on the other hand, founda-
are producing books with an artistic “feel”
and positioning them as best-sellers in
the country.
And that perhaps may be an initial warn-
Colombia is not only full of opportunities,
but threats as well. When such an erup-
tion of publications takes place, there
is, without a doubt, a market that makes
that market one must ask, whether free or
bought, what “is sold” and what is not.
So, there is one market driven by a
“hipster” or “cool” culture and another
promoted by the academy and vali-
dated as “relevant.” It is a relevance
be and on a hegemonic view of the
meta-narratives are promoted by
explicit, or at times veiled, interests that
favor one point of view over others.
Is this author “cool” enough? Is this
representative enough to merit a book?
represent the country in international
book fairs? Is this collective of designers
-
ciently relevant to the spirit of the times
and the prejudices of the moment?
Thus one has to ask whether these
notions are advantageous as a criterion
of assessment. One has to ask if the
246 / 247
 - profesional del artista para buscar otras
la existencia de un libro debe depender
si esas nociones de “calidad” son real-
mente objetivas o si corresponden más
bien a la manifestación de una alienación
impulsada por el cierre de un universo
“inteligente”, “legible”.
El 44 SNA Aún, ha insistido, desde sus
postulados curatoriales y desde los
lineamientos de su proyecto editorial, en
la necesidad de defender los márgenes,
esos espacios liminales en proceso de
formación o en franco proceso de olvido.
Se ha planteado la necesidad de servir
como medio de resonancia para voces
hablar en una suerte de lengua extraña,
no son escuchadas.
otras formas de decir y de unos relatos
murmullos. Aún, al hablar de territorios,
debe plantar bandera, debe abrir espacio
- ellos y así dar cabida a procesos de expe-
do de caber. Si hay un mercado ya consoli-
dado para productos editoriales, Aún debe
como la posibilidad de experiencia, una
está afuera del círculo (ex-peri) de nues-
nuestro renuente pensamiento.
Estructura
El componente editorial de Aún está arti-
culado a partir de ese conjunto político
esas grandes preocupaciones en acciones
de ese pensamiento en acción. Así, el
proyecto editorial propone un modelo
voces y otras perspectivas. Intenta anclar
preguntas, concepciones y manifestacio-
nes externas a la autoreferencialidad de
pensar, sencilla y complejamente, en
territorios y mundos posibles. La ambición
de este Salón, a través del proyecto edito-
en evidencia las grietas, las porosidades
-
sente” o la “historia”.
El proyecto ha diseñado un modelo de
participación y producción dividido en
en otras. Estas categorías son:
–Publicaciones comisionadas: Se invitó a
-
tes culturales a producir publicaciones
en torno a temas, preguntas o modelos
de producción sugeridos desde el comité
editorial, con la intención de articular
sus prácticas y espacios profesionales
habituales con otros no contemplados por
rimentación, a nuevas preguntas y a inte-
racciones con otros grupos o individuos.
–Publicaciones convocadas: Buscando
atraer grupos o individuos cuyo trabajo
-
torial del Salón y, en general, del círculo
de productores con reconocimiento públi-
co y prestigio consolidado, se abrieron
convocatorias para recibir propuestas
arriesgadas, híbridas y problemáticas en
el marco general del Salón y de las pre-
–Catálogo: Como curadores, tenemos
caminos y buscamos conectar sentidos
y voces disonantes a través del evento
44 SNA. Estas publicaciones son una
herramienta para hacer explícitas esas
preguntas, para controvertir regímenes
existence of a book must depend on
objective or correspond, instead, to
the manifestation of an alienation that
limits a possible universe to what seems
“pleasant”, “intelligent” or “readable.”
Based on its curatorial premises and the
guidelines of its publishing project, the
44th National Salon of Artists, Aún, has
insisted on the need to defend the mar-
gins, those barely perceptible areas which
are in a process of consolidation or of
being forgotten. It has assumed the role
of resonator for dissenting voices and
for those who are unheard because they
speak in a strange sort of language.
The Salon defends risks, signals the
threat, and trusts the emergence of other
forms of saying, of narratives which, while
powerful, today exist only as whispers.
In speaking of territories, Aún should
for consolidated editorial projects, Aún
should be thinking about that which is not
a commercial product but an experiment,
that which is understood as the possibil-
ity of an experience, where experience is
understood as that which is beyond the
circle (ex=out, peri=perimeter) of what we
are familiar with: that thing over there, far
away, that waits to be heard and wants to
converse with our reluctant thought.
Structure
The publishing component of Aún is
based on articulating that set of political
(yet also metaphysically resonant) aspi-
rations, and, at the same time, it seeks
to translate these grand concerns into
clear actions which allow that thought
to become action. Thus, its publication
project has come up with a model which
transcends the artist’s professional realm
in order to look for other voices and other
concepts, and external manifestations in
the self-referential realm of what is known
as the “art world,” in order to think, in
simple and complex terms, about possible
territories and worlds. The ambition of
this Salon, then, is to open, with its publi-
cation project, a discussion between that
which pertains to art and artists and that
which is situated in a structural “outside,”
and the different narratives that are found
in that which is known as “reality,” the
“present”, or “history”.
The project has designed a model of par-
ticipation and production, that is divided
into three broad categories that are fur-
ther subdivided. These categories are:
• Commissioned publications: We invited
artists, writers, philosophers, and other
cultural agents to produce publications
production models suggested by the pub-
lication committee, with the intention of
linking their habitual practices and profes-
-
tions, and interactions with other groups
or individuals.
• Publications chosen by open call: Seeking
individuals whose work is below the radar
of the curatorial team and, in general,
of the circle of producers who possess
consolidated public acknowledgment and
daring, hybrid, and problematic proposals
within the general framework of the Salon
• Catalogue: As curators, we have a
and try to connect dissonant meanings
and voices through the event known as
the 44th National Salon of Artists. These
publications are a tool for making these
of reality to raise doubts about ourselves
-
sentatives of an institutional narrative
248 / 249
de realidad y para ponernos en cuestión
- intercambios en vivo, conectando agentes
res y representantes de una narrativa
institucional productora de hegemonías
posibilidad de producir distintas publica-
y públicos usualmente separados entre sí.
De igual modo, se plantea en la página
-
tes, críticas, comentarios y otras formas
de participación del público a modo de
memoria del proyecto 44 SNA Aún. Así,
-
-

registros de audio y video, etcétera. podrán incorporar este aparato crítico

como herramienta de formación dialéctica
accesibilidad de los materiales produci-
dos, se pondrán, sin excepción, en línea historia hegemónica de la marca Salón
(www.44sna.com), en formatos descarga- Nacional en un espacio más abierto y
bles y gratuitos, vinculando la plataforma
web a todo el proyecto editorial. la formación de sociedades agonísticas,
donde, citando a Chantal Mouffe, “los opo-
Enfoque pedagógico
nentes no son enemigos sino adversarios”.
El componente editorial de Aún se
Sin duda, esta es una apuesta bastante
centra en la publicación y distribución
ambiciosa, pero es también una oportuni-
de experimentos editoriales en forma-
dad de reconectar el Salón con sus públi-
tos diversos. Estos experimentos son
cos, comentaristas, aliados y detractores.
dispositivos pedagógicos en sí mismos,
detonadores de pensamiento crítico y de
-

la discusión. Teniendo eso en cuenta, el

proyecto editorial se articula con el semi-
de difusión cultural por excelencia en el
nario teórico (componente de formación),
país, debe responder decididamente.
cuyas memorias serán editadas desde el
comité editorial, para generar espacios
that is responsible for hegemonies which
undermined from within.
In turn, these categories offer the pos-
sibility of producing publications of
books, posters and other materials, audio
and video recordings, etc. It is worth
pointing out that in an effort to broaden
access to the materials produced, all of
them, without exception, will be available
online (www.44sna.com) in formats that
may be downloaded without charge and
will link the online platform with the pub-
lishing project.
Educational focus
The publishing component of Aún is cen-
tered on the publication and distribution
of editorial experiments in different for-
mats. These experiments are educational
devices in and of themselves, triggers of
critical thought and of opportunities for
self-education and discussion. Taking that
into account, we further point out that we
will link the publishing project to the the-
oretical seminar (part of the educational
component), the records of which will be
produced by the editorial committee to
create cross-sectional areas which allow
for live discussions and exchanges that
connect agents and publics that are usu-
ally segregated from one another.
Likewise, we plan to publish on the event’s
-
ical remarks, commentaries, and other
forms of participation by the public in the
form of the memoirs of the 44th National
Salon of Artists, Aún. Thus, going beyond
we yield to the voice of its antagonists,
trusting that future editions may incor-
porate this critical device as a tool for
dialectical education that gives rise to and
favors the transformation of the hege-
monic history of the trademark, “National
Salon,” into a more open and experi-
mental venue which serves as an engine
for the formation of agonistic societies,
where, to cite Chantal Mouffe, “oppo-
nents are not enemies but adversaries.”
There is no doubt that this is a rather
ambitious wager, but it is also an oppor-
tunity to reconnect the Salon with its
audiences, commentators, allies, and
detractors. Nowadays, the institutional
learning process, and this complex and
the Salon must face resolutely.
250 / 251
Cólera
Anger
Cólera
Está lleno de anos y vergas, de desviacio-
nes, de calaveras, de punkeros ahorcados,
deformidad moral. Es una de esas cosas
-
lescentes, es un compendio de contenidos
destrucción puede ser cool
sería una primera descripción, la de un
adulto de bien, sobre esta publicación.
Sin embargo, Cólera es, más bien, un
espacios de autonomía. Es un ejercicio
de resistencia desde el desenfado, es un
encuadernadas. Cólera es una respuesta,
unas y otras subculturas juveniles en el
-
para convertirlas en un vómito denso y
lleno de extrañamiento son, entre muchas
publicación. Cólera es, en últimas, un
compilado de ideas, preguntas y proyec-
tos sobre la institución, sobre formas y
formatos para pensar cómo encontrar un
-
desde la emergencia de lo cercano, de lo
de comunidades distintas de gente joven
haciendo cosas.
Cólera
full of anuses and cocks, of detours,
of skulls, of hanged punks, of sketchy
drawings and others that aren’t so sketchy,
even though they are all sketchy in their
moral deformity. It is one of those things
compendium that debates itself between
the destruction of the social order and
the desire to say that this destruction
can be cool
description a respectable adult would
make of the publication.
However, it is better to say that Cólera is
a portrayal of a group of small organi-
seek to create a new world and autono-
mous spaces. It is an exercise of resistance
from a self-assured perspective, more of
Cólera is a reply, modest but blunt, to
those who ask what is happening with the
various youth subcultures on the conti-
collectives in Bogotá, people who push
and artists that recombine graphics from
the media to turn them into a dense vomit
full of strangeness are, among others,
featured in the pages of this publication.
Cólera is, ultimately, a compilation of
-
tutions, about forms and formats to think
capable of resisting and responding to the
the emergence of closeness, through the
warmth and richness that can become an
intersection of distinct communities of
young people doing things.
Editor: Colectivo Rat Trap (José Darcy Publisher: Colectivo Rat Trap (José
Cabrera, Paola Acebedo, Carlos Darcy Cabrera, Paola Acebedo, Carlos

Diseño y producción: Perro Centinela Design and production: Perro Centinela

252 / 253
Coprófago Paradise
Coprophagous Paradise
Adolescentes a tope de venlafaxina y
haloperidol, dealers
rosa de Bogotá. Romances, rupturas,
crisis emocionales, relatos de juventud,
Temor y temblor, policías corruptos y
y Marginadas, construyen el entramado
milenio, produciendo versiones incon-
grandes casas editoriales colombianas
- fury, all of the excess and emptiness of
so y el vacío de Coprófago Paradise, eran
perfectos para darle al mundo una nueva
mercancía llena de futuro.
Coprófago Paradise es la novela de una
novela, debiendo apelar a una escrita en
Cali, durante los setenta, y a otra bogo-
poder pensarse a falta de un relato propio
y contemporáneo, en una época, allá,
signada por la presencia de la posmoder-
- of postmodernity and of subcultures that
sí supieron explotar a las juventudes de la
época. Hoy, este best seller
es un documento clave para mirar atrás y
entender a esos adultos emprendedores
descentrados del estrato 4.
Teenagers doped up on venlafaxine y hal-
operidol, dealers who are also insects, a
city named Coprophagous Paradise that
is only distinguished from Bogota’s red
light by its name. Romances, ruptures,
emotional crises, tales of youth, Fear
and Trembling
police and a rock band that called itself
Whores, construct the framework of this
novel that Juan Nicolás Donoso began to
write during the turn of the millennium,
producing countless versions, all of them
rejected by the big Colombian publishing
houses, which, habitually blind, could
not see that all of the uncontrollable
Coprophagous Paradise was perfect to
present a new commodity, full of promise,
to the world.
Coprophagous Paradise is the novel of a
generation in Colombia that was left with-
out its own novel, and which had to resort
to one written in Cali in the seventies, and
another from Bogotá from the beginning
lacking a contemporary story of its own, in
a period of time marked by the presence
contrast with the publishing houses, knew
how to exploit the youth of this period.
Today, this best seller that never was is
a key document to look back and under-
stand the entrepreneurial adults of today
who were previously the disaffected teens
of the middle class.
Autor: Juan Nicolás Donoso Author: Juan Nicolás Donoso

Editorial: Caín Press Publisher: Caín Press

254 / 255
El Fuete
The Whip
Néstor Cardona fundó El Fuete hace 74
hijo Fabio continuó para darle a Pereira
una válvula de escape a la tensión política
local y para comentar, usando la sátira y la
caricatura, la historia de la ciudad.
El Fuete
caricaturistas se han formado y el punto
en la prensa nacional. Chócolo, Matador
y Mheo, son algunos de esos dibujantes
esta edición, aceptaron hacer una edición
todas las incidencias de un proceso de
del periódico, aún no había tenido en
todos conocemos.
Salón, vemos los sinsabores y las espe-
- country drawn by these cartoonists with
de temblor y también un puño en la cara
Néstor Cardona founded El Fuete [The
Whip] 74 years ago, beginning a life proj-
ect that his son Fabio continued, giving
Pereira an escape valve for local political
tensions and using satire and cartooning
to comment on history and society.
El Fuete was a school in which many
cartoonists learned their craft, and the
starting point for their storied careers in
the national press. Chócolo, Matador, and
Mheo are some of these cartoonists that
began their careers working for the pub-
lication and who, for this issue, agreed to
create an exhaustive publication, making
lucid commentary about the events in
a peace process that, at the time of the
newspaper’s launch, still had not been
through the disaster in the ballot box with
which all of us are familiar.
In this edition, created as part of the
Salon, we see the worries and hopes of a
that particular smile that seems a way of
country that ended up showing that it can
be a more bittersweet cartoon than any
attempted caricature.
Autores: Matador, Chócolo y Mheo Authors: Matador, Chócolo and Mheo
Edición: Fabio Cardona Publisher: Fabio Cardona
Diseño: Mauricio Barrera Design: Mauricio Barrera

256 / 257
Ensayo # 1
Essay #1
Yolanda Chois, Camilo Aguilera,
María Juliana Soto y Miguel Tejada con-
forman Hacia el Litoral, “una plataforma
intenciones e ideas en torno a un terri-
Colombia y Panamá”. Como parte de su
- Litoral creates radio transmissions, car-
siones radiales, cartografías, procesos
curatoriales, activación social, poesía e
- aiming to build an archive that can indi-
la guerra se disputan, con su “presencia
sombría” sobre el territorio, corredores
-
mente, usadas y desmembradas por unos
guerrillero y paramilitar.
Este Ensayo #1 construye una cronología
de la guerra en Juradó, donde, a partir de
los años 90, se rompió un relativo balance
previo, cuando solo el EPL y las FARC
colaboraban o competían por el control
de la región. Esta cronología, consolidada
por Camilo Aguilera a partir de materiales
fragmentarios, testimonios, recortes de
prensa y, en general, voces, dialoga con
fragmentos de un poema de Miguel Tejada
encuentran un cuerpo para generar una
resisten a no estar.
Yolanda Chois, Camilo Aguilera, María Juli-
ana Soto and Miguel Tejada form Hacia el
Litoral, “an imaginary platform that brings
together various projects, intentions, and
ideas concerning a geographical territory:
Panama.” As part of its process, Hacia el
tographies, curatorial processes, social
actions, poetry, and sociological research,
cate what occurs in a region in which all of
the participants in a war, with their “dark
corridors, extensions of earth, natural
resources, and communities that are cycli-
cally used and dismembered by one or
paramilitary power.
Essay #1 constructs a chronology of the
war in Juradó, where the paramilitary
incursion that began in the 1990s broke
the relative balance that previously
existed, in which only the EPL (The Popular
Liberation Army) and the FARC collab-
orated or competed for control of the
region. This chronology, put together by
Camilo Aguilera using fragmentary mate-
rials, testimonies, press clippings, and
voices in general, establish a dialogue with
fragments of a poem by Miguel Tejada,
through which these splinters of material
voice that could only be the voice of those
already dead, those who resist not being.
Autor: Colectivo Hacia el Litoral (Yolanda Author: Colectivo Hacia el Litoral (Yolanda

Camilo Aguilera Toro y Camilo Aguilera Toro and

Editor: Sic Semper Tyrannis Ediciones Publisher: Sic Semper Tyrannis Ediciones
Diseño: Cuántika Studio Design: Cuántika Studio

258 / 259
José Martí la
berenjena sublime y
el sórdido pendejo
José Martí, the Sublime
Eggplant and the
Sordid Idiot
En Popayán, en 1977, un hombre nego-
ciando su delirio, cargado de fantasías
con Camilo Torres, con Derrida y con el
años después de esos rituales de decapi-
texto cortado y vuelto a pegar, un texto
saltarín y musical, un texto lleno de dibu-
jitos y de diagramas, un texto brillante
Glas,
una tal Lady Madeline Usher de Gianakos,
Estanislao Zuleta y un metaprofesor, de
nombre Wladimir y de apellido Chuleta,
llenando todos todo de telarañas, entre
cantos de oropéndolas, de berenjenas
histórico, monumental, en sus 33 páginas
de cantos y de fecunda obscenidad, cuya
función, a diferencia de toda la otra, sosa,
oportunidad de perdernos en la manigua
y de terminar preñados por la semilla de
mejores fantasmas.
José Martí, la berenjena sublime y el sórdi-
do pendejo es, sin duda, uno de los textos
en la historia de Colombia, un ejercicio de
ruptura e instauración y un lied
- lied
ductor de Derrida y comentarista de Leon
de Greiff, payaso honoris causa y absoluto
en este país.
In Popayán, in 1977, a man negotiating his
delirium, full of fantasies about Camilo
Torres, about Derrida and about the pope,
whom he wanted to decapitate with a
Carlos Santana record, writes a text with
his typewriter some years later than those
decapitation rituals, a text that was cut
up and pasted back together, a restless
and musical text, a text full of drawings
and diagrams, a brilliant but endlessly
dark text. A text that is impregnable but
full of light. A text that was previously
unpublished, and is maybe unpublishable,
despite this edition. A text that is a spell
and an American opera in which Martí and
Carpentier, Glas, a Lady Madeline Usher
de Gianakos, Estanislao Zuleta, and a
metaprofessor named Wladimir, last name
with spider webs, in between the songs of
golden orioles, testicular eggplants, and
gladioli. A historical book, monumental, in
its 33 pages of songs and fecund obscen-
ity, whose function, in contrast with all
the other dull Colombian philosophy, is
not to instruct us or make us understand,
-
out answer that gives us the opportunity
to lose ourselves in the jungle and to
end up impregnated with the seed of the
greatest ghosts.
José Martí, la berenjena sublime y el
sórdido pendejo [José Martí, the Sublime
Eggplant and the Sordid Idiot] is, without a
doubt, one of the most revolutionary texts
ever written in the history of Colombia,
an exercise in rupture and establishment,
of masks, translator of Derrida and com-
mentator on Leon de Greiff, clown honoris
causa, and the absolute progenitor of all
that can be called Punk in this country.
Edición: La parte maldita Publisher: La parte maldita
Diseño: Calipso Press Design: Calipso Press

260 / 261
La oquedad de los
Brocca
The Emptiness of the
Broccas
La oquedad de los Brocca (2016), es el
segundo intento de José Antonio Covo por
por una nada espesa y profunda. Tras
Osamentas Relampagueantes (2015), su
primera novela, Covo insiste en un ejer-
la puesta en duda de todos los principios
sobre la vida. Para hacerlo, acude siem-
resultan familiares, casi estereotipados,
sin importar si hablamos de un grupo de
jóvenes de buenas familias cartageneras
drogas, o bien si nos mete en la vida de un
de poder empresarial para arrastrarnos
donde sus miembros poseen clones sobre
subjetividad sobre el martirio de ese uno-
- tion of language and the narrative forms
trucción del lenguaje y de las formas
narrativas del género novela, un trabajo
sobre estructuras analíticas mantenidas
siempre al borde del colapso, enajenadas
y puestas en evidencia para traernos de
versión agujero negro.
La oquedad de los Brocca is José Antonio
Covo’s second attempt to destroy the
universe and replace it with a thick, deep
Osamentas
Relampagueantes [Lightning Skeletons]
(2015), Covo insists on a literary exercise
all of the principles that sustain our con-
victions about life. To do this, he turns
to situations and characters that seem
familiar to us, almost stereotypes, without
caring if we are speaking about a group of
young people from good Cartagena fami-
lies who are dedicated to parties, unease,
and drugs, or if we are placed into the
and the power games of the business
hidden in the center of the Earth that seek
to terminate those of the surface, or a
secret society whose members possess
clones upon whom they exercise countless
own subjectivity through the martyrdom
of the other-self that is the clone.
Covo’s work, more than the production of
-
of the genre of the novel, a work of analyt-
ical structures that are always kept on the
edge of collapse, demented and revealed,
-
selves in the form of a black hole.
Autor: José Antonio Covo Meisel Author: José Antonio Covo Meisel
Edición y diseño: Caín Press Publisher and design: Caín Press

262 / 263
Movimiento hacia
la Izquierda
Movement
Towards the Left
Gabriela Pinilla explora en su trabajo las
huellas de una mitología de la acción polí-
momentos e iniciativas de grupos e indi-
TRansHisTor(ia), conformado por Camilo
serie de proyectos de investigación curato-
de acción colectiva en el arte colombiano y
y, del otro, por las representaciones mediá-
ticas y la incorporación social de momentos
coyunturales en la historia de Colombia.
Pinilla y TRansHisTor(ia) colaboran con
Movimiento hacia la Izquierda, un álbum
una historia vertiginosa, la de las muchas
Esta historia, llena de incidentes, desvíos
y confrontaciones, presenta las luchas
de obreros, sindicatos, grupos armados
y movimientos indígenas, estudiantiles y
campesinos, entre otros, a partir de noticias,
prensa. Como trabajo de exploración de
archivos, el libro es una fuente rica de mate-
allá, es una invitación a pensar en las
formas de lucha y en las posibilidades de
momento donde las estructuras fundacio-
nales de las democracias representativas
pensar el espacio de lo político desde las
In her work, Gabriela Pinilla explores the
traces of a mythology of political action
by the Left in Colombia, recuperating
moments and initiatives of groups and
individuals that embrace political struggle
to generate spaces of social transforma-
part, has created, during the last decade, a
series of curatorial research projects about
forms of collective action in Colombian art
-
tices, and media representations and social
incorporation of critical moments in the
history of Colombia.
collaborate and, on this occasion, have
created Movimiento hacia la Izquierda
[Movement Towards the Left], an album
with commentary that takes us through
a vertiginous history, that of the many
lefts in Colombia, between 1910 and 1990.
This history, full of incidents, detours, and
confrontations, presents the struggle of
workers, unions, armed groups, and indige-
nous, student, and campesino movements,
among others, through news stories, com-
munications, and manifestos that appear in
the press. As a work of archival exploration,
the book is a rich source of materials in
with pieces from different games. Beyond
that, it is an invitation to think about ways
of struggle and the possibilities of orga-
in which the foundational structures of
representative democracies are collapsing
all over, giving an opportunity to consider
the space of the political in the ruins of a
-
lapse of capitalism.
Autores, edición y diseño: Gabriela Authors, editors and design: Gabriela

264 / 265
Notas de estudio
Study Notes
Notas de estudio
- book that emerged from conversations
ron el artista caleño Leonardo Herrera y el
patrón absoluto del cartel de Cali, Gilberto
-
saciones, cuyos vestigios se remontan a
1999, cuando Herrera visitaba al capo en la
e historia, son retomadas en 2015, en los
Estados Unidos, donde Leonardo consigue
encierro, de la crisis de la investigación en
de su vida pasada y se reconstituye como
un nuevo sujeto de pensamiento.
Estas conversaciones, puestas en un
punto curioso de elaboración, balan-
ceándose entre la memoria, la verdad y
para pensar el trauma de las guerras del
cautiverio y libertad dejan de entenderse
como opuestos cuando son articulados
por el acto siempre soberano y siempre
precario de pensar.
Notas de estudio [Study Notes] is a small
between the artist Leonardo Herrera, from
Cali, and the head chief of the Cali Cartel,
conversations, which date back to 1999,
when Herrera visited the capo in the Pal-
mira prison to teach him philosophy and
history, restarted in 2015, in the United
States, where Leonardo was able to visit
him to discuss philosophy, imprisonment,
the research crisis in the humanities,
among other subjects in which the elderly
drug lord distanced himself from his past
life and reconstituted himself as a new
producer of thought.
These conversations, put in a curious
point of elaboration, balancing themselves
-
tion, offer, through the writing of Carlos
of the drug wars in Colombia, the possi-
bility of forgiveness, redemption, and the
place where captivity and liberty no longer
understand themselves as opposites when
they are articulated through the sovereign
and always precarious act of thinking.
Autor: Leonardo Herrera Author: Leonardo Herrera

266 / 267
Rocío en formación
Dew in Formation
¿Qué es pasar en relación con ser? ¿Qué es
un reino en relación con un espacio? ¿Por
En Rocío en formación -
disolviendo para formar pensamiento, un
- thought, a thought that is carried along
bras para dibujarse de página a página
como uno nuevo, elemental e indivisible.
El libro, facsímil de un manuscrito en el
por la vida misma de Tupac, siempre
poblando en sus acciones y en sus pensa-
- an invitation to pass through, a philosophy
lo hecho. Rocío en formación es la acep-
tación de la unidad incansable y siempre
en tránsito, pues “ningún estado precede
y ninguno sucede al rocío en formación,
ninguna forma precede y ninguna sucede
al rocío en formación”.
What is moving in relation to being? What
is settling in relation to occupying? Why
plants instead of stones? And among the
plants, why the creeping plants and not
those that stand up on their own? What is
a realm? What is a realm in relation to a
space? Why a realm without parts and not
a place?
In Rocío en formación
a manifesto that is like an epiphany, but
an epiphany that does not come from us
but that, dragging itself, dissolves into
with words to be drawn on each page like
something new, elemental, and indivisible.
The book, a facsimile of a manuscript in
which one can perceive not only the trem-
that passes through it and which is a
constant form and formation that, more
reproducer of the form, is a moment, a
step that passes through Tupac’s life,
settling a realm in his actions and his
thoughts that is a promise without destiny,
has been done. Rocío en formación is the
acceptance of tireless unity and is always
in transit, as “no state precedes and none
follows dew in formation, no form pre-
cedes and none follows dew in formation.”
Edición: La parte maldita Publisher: La parte maldita
Diseño: Calipso Press Design: Calipso Press

268 / 269
Tú y yo
You and Me
Tú y yo, una novelita rusa
distópica construida como esos memes
romántica, sexual o abiertamente paté-
tica) …no sé, piénsalo”. Se trata de una
narración kafkiana de reclusión y fuga, de
personajes transmutados, de ideologías
impuestas experimentalmente sobre los
personajes de la novela (es decir, sobre
tú y yo), de laberintos y geometrías sagra-
sentido constante de disolución y vértigo
Juan Cárdenas suele meter a sus lectores
en esos juegos donde el suelo se desdi-
buja y se vuelve siniestro como condición
para traernos la verdad de la situación.
Su trabajo es siempre un recordatorio de
de unas posiciones construidas cuando
ejercicio de movernos sin descanso, tra-
tando infructuosamente de encontrarnos.
Tú y yo, una novelita rusa [You and Me,
a Russian Novella], is a work of dysto-
memes that read “You and me... (set
over an image of a romantic, sexual, or
openly pathetic situation)... I don’t know,
reclusion, escape, of people who have
been transformed, of ideologies exper-
imentally imposed on the characters of
the novel (that is to say, you and me), of
labyrinths and sacred geometries that
end up being escape routes, of calls to
action here and now, and of a constant
sense of dissolution and vertigo that puts
into play a correspondence between a
place that, because of its strangeness, is
oppressive, and for the oppression that it
exercises, gives us the certain feeling of
having been there.
Juan Cárdenas tends to thrust his read-
ers into those games where the ground
dissolves to become something sinister,
in order to bring us to the truth of the
situation. His work is a constant reminder
that we cannot hang on to security of
constructed positions when the experi-
ence of being here is always an exercise
of moving without rest, vainly trying to
Autor: Juan Cárdenas Author: Juan Cárdenas
Editor: Cajón de sastre Publisher: Cajón de sastre
Diseño: Estudio Machete Design: Estudio Machete

270 / 271
Un libro sobre la
dignidad
A Book About Dignity
¿Qué es ser un hombre negro en
Colombia? ¿Cómo se ha construido esa
identidad a través de una historia nacional
- that could very well begin with the records
dientes del Tribunal de Indias? ¿Qué tanto
sigue siendo el hombre negro en Colombia
socialmente incorporado a un imaginario
tanto es temido por incorporar hoy, no el
imaginario del esclavo, sino la historia
del insumiso?
A partir de un recorrido por dos expe-
dientes históricos, el de Domingo Criollo,
hacia 1686, y el de Blas Castañeda,
1896, sumados al testimonio exhaustivo
mediática en septiembre de 2015 por
haberse resistido y exigir respeto de la
- and demanding respect from the police,
ple hecho de ser negro, Liliana Angulo teje
un relato histórico donde, sin importar
siente la continuidad de una historia de
se debe controlar, reducir y subyugar.
El libro, diseñado como un dispositivo
rotofolioscópico, permite reanimar en
las páginas, el ejercicio de resistencia de
Carlos Angulo frente al abuso policial,
grabado por una transeúnte y amplia-
mente difundido en medios locales
comunidades afro y, en especial, de los
hombres afro, largamente oprimidos en un
pluriétnico y multicultural.
What does it mean to be a black man in
Colombia? How has this identity been
constructed throughout a national history
of the Council of the Indies? How has the
black man in Colombia continued to be
socially embodied in an imaginary inher-
ited from slavery? And, more still, what is
more frightening than to embody today,
not the imaginary of the slave, but the
history of the rebel?
Through a reading of two historical
records, that of Domingo Criollo, the
leader of the palenque, or runaway slave
community, of Sierra de María, around
1686, and that of Blas Castañeda, admin-
istrator in a farm in Medellín, 1896, along
with the exhaustive testimony of Carlos
Angulo, who gained visibility in the
media in September 2015 for resisting
who were attempting to arrest him for
the simple fact that he was black, Liliana
Angulo weaves a historical narrative in
which, without concern for the geographic
accounts, one feels the continuity of a his-
tory of racism, sustained by the prejudice
that black men are a threat that must be
controlled, reduced, and subjugated.
The book, designed as a rotofolioscopic
device, revives Carlos Angulo’s exercise
of resistance in the face of police abuse,
local media as a manifestation of the dig-
nity of Afro-Colombian communities, and
in particular, Afro-Colombian men, heavily
as multiethnic and multicultural.
Autor: Liliana Angulo Author: Liliana Angulo

272 / 273
Un Pacto con el diablo
A Pact with the Devil
La historia de Colombia, el país del
de un pacto con el diablo. Un pacto
supuesto desde la llegada de los españo-
les, temerosos de los indios y en pánico
absoluto frente a los esclavos negros,
esa presencia del diablo en Colombia
se extiende a muchas manifestaciones
carnaval del Diablo en Riosucio, hasta la
fascinación de todas las culturas juveniles
contemporáneas por todo tipo de mani-
festaciones “satánicas”.
En esa historia de las subculturas urbanas,
Pereira tiene un lugar de honor, al haber
sido, de la mano de Héctor Escobar, uno
de los papas negros, epicentro de ceremo-
- helped to build a community rich in sto-
truyendo una comunidad rica en historias
y en manifestaciones.
Tras la muerte de Escobar, varias inicia-
tivas han surgido por rescatar su legado
y preservar la memoria de un hombre y
de un grupo dedicados al culto al diablo
como práctica de libertad.
En Un pacto con el diablo, Gustavo Acosta
compila materiales para una historia del
diablo en Pereira, de sus adoradores, de
sus espacios sociales, de sus manifesta-
grupo de personas ha sido percibido por
The history of Colombia, the country of
the Sacred Heart, is better said to be the
history of a pact with the Devil. A pact that
has existed since the arrival of the Span-
ish, fearful of the Indians and in absolute
panic of their black slaves, objects par
of the Devil in Colombia extends to many
cultural manifestations, from the tradi-
tional Carnival of the Devil in Riosucio, to
the fascination that appears in every con-
temporary youth cultures with all forms of
the “satanic.”
In this history of urban subcultures,
Pereira has a place of honor for having
been, at the hand of Héctor Escobar, one
of the “Black Popes”, the epicenter of
ceremonies, rituals, and pacts with the
devil that, starting at the end of the 1960s,
ries and events.
After the death of Escobar, various initia-
tives have arisen to rescue his legacy and
to preserve the memory of a man and a
group dedicated to the cult of the Devil as
a practice of freedom.
In Un pacto con el diablo [A Pact with the
Devil], Gustavo Acosta compiles materials
for a history of the Devil in Pereira, about
his worshippers, his social spaces, his cul-
tural manifestations, and the way in which
this group of people has been perceived
by the rest of a society that vacillates
between curiosity and rejection.
Autor: Gustavo Acosta Vinasco Author: Gustavo Acosta Vinasco

274 / 275
Vine, vi y me vendí
I Came, I Saw, I Sold
Myself
María Natalia Ávila Leubro, más conocida
en Facebook como Maria Leubro, llegó a
de Bogotá y con rumbo a Nueva York.
- that showed her global satellite position
sicionamiento satelital en el Philadelphia
International Airport, Natalia publica en
los Estados Unidos) apenas un deseo, un
deseo muy de ranchera, así como es ella:
Natalia no le fue tan bonito, cómo fue roba-
da, cómo la estafaron, cómo fue contratada
por centavos. A pesar de todo, durante esos
pupusas, llevando una vida precaria, como
Estados Unidos, Natalia siguió publicando
y tan cercana a la de muchos, estaba llena
de todo, excepto del amor.
Vine, vi y me vendí, su libro, es un testi-
monio —en minúsculas luminosas— de un
viaje de encuentro y de alienación, de des-
está hecho de pesadillas.
María Natalia Ávila Leubro, better known
on Facebook as Maria Leubro, arrived in
Philadelphia on May 4, 2016, from Bogotá,
headed to New York. Along with a map
in the Philadelphia International Airport,
Natalia published a small note on her wall
(its sounds so strange today, November
9, 2016, that a Latina woman wrote some-
thing on her “wall” from the United States).
The note was barely a desire, the kind of
desire that might be found in a ranchero
song, very much like her: “I hope this goes
We see in the following months that it did
not go well for Natalia, as she was robbed,
ripped off, and hired to work for pennies.
Despite everything, during the months
that she spent cleaning bathrooms, eating
pupusas, and living a precarious existence,
United States, Natalia continued to pub-
lish everything that happened to her on
her Facebook feed, every tiny detail of fear
and wonder in the “capital of the world.”
-
ilar to many others, was full of sadness,
and at the same time, of a humor that
supersedes everything else except love.
Vine, vi y me vendí [I Came, I Saw, I Sold
Myself], her book, is a testimony —in tiny
illuminations— of a journey of encoun-
ter and alienation, of disappearance
and revelation, to us, here, who still
don’t completely understand that this
thing called “the American dream” is
made of nightmares.
Autor: Natalia Ávila Author: Natalia Ávila
Edición y diseño: Caín Press Publishing and Design: Caín Press

276 / 277
5-5
5-5 es la transcripción de un momento
histórico, de una aglutinación de reali-
dad bajo la forma de una transmisión
televisiva: la del histórico triunfo, si es
colombiana de fútbol frente a su homólo-
Vinasco Ch. el 5 de septiembre de 1993.
Piruetas, eslóganes, chistecitos triunfa-
listas, publicidades precarias de Pintuco,
ser vendida en televisión, salpican por
todos lados los incidentes del partido.
Más allá, otros incidentes se han colado
en esa transcripción. No solo cinco goles,
también cinco muertos: Andrés Escobar,
Bernardo Jaramillo Ossa y las anónimas
víctimas de la celebración del 5-0 se
alternan la pelota de ese gran deporte
el asesinato ordenado por el Estado, ase-
como productos disponibles para cada
- throw-in, every corner kick. 5-5 is a snap-
na. 5-5 es una instantánea del país de los
cada narración del Gol Caracol
solo nos acordemos de los goles y nunca
de los muertos.
5-5 is the transcription of a historical
moment, of an agglutination of reality in
the form of a television broadcast: the
historical triumph, if it could be called
that, of the Colombian soccer team against
its Argentine counterpart, narrated by the
voice of William Vinasco Ch., on September
5, 1993. Pirouettes, slogans, triumphalist
jokes, and crude advertisements for Pin-
9 Millonaria
lottery, the Conavi bee mascot, and any-
thing else that can be sold on television
are sprinkled throughout everything that
happened during the game.
Beyond that, other incidents have been
slipped into the transcription. Not only
-
nardo Jaramillo Ossa, and the anonymous
victims of the celebration of the “5-0” pass
the ball between the great national pas-
murders of passion, murders ordered by
the state, murder, in the end, with as many
forms and models as there are dispos-
able products advertised before every
shot of the country in the 1990s, which
23 years later lives on in each narration
by the Gol Caracol sports program, even
though we remember only the goals, and
nothing of the deaths.
Autor: Nicolás Llano Linares Author: Nicolás Llano Linares
Edición y diseño: Salvaje Publisher and design: Salvaje

278 / 279
El Salón: un territorio en disputa
The Salon: a Contested Territory

Las polémicas alrededor del Salón son inevitables. En los dos

The polemics that surround the Salon are unavoidable. In the

outsiders, about some of the things we ask of these Salons, what

we hope of them and the critical dynamics they generate.
 cuestionar desde la periferia
Úrsula Ochoa*

mundo del arte es un sistema corrupto, aparente, principalmen-

te arribista y embustero, nada distinto a los sistemas políticos
de nuestro estimado país, pero a una escala menor. Lo otro es

conveniencia estratégica o un evidente resentimiento personal. Se

desprestigia el evento (aun sin conocerlo) desde la inconformidad
-

-
miento objetivo en relación al actual Salón Nacional de Artistas.
Un criterio serio, en el mundo del arte, siempre parece utópico.

hacen desde el desagrado de no haber sido partícipes del evento,

aparente “preocupación” hacia el estado actual de los Salones

dentro de la historia del arte colombiano, y esto, por lo tanto, no
podría ser aceptado como opinar desde un criterio real.

*(Medellín, Colombia, 1987) Graduated in Visual Arts and studied Cultural

Journalism and Art Criticism, Aesthetics, and 18th Century Art Theory at

She also works with the publishing collective La Artillería in Medellín and
writes about art and culture for several publications.
question from the periphery
Úrsula Ochoa*

I am going to begin this essay with two pedantic and negative

world is a corrupt, feigned, and mainly arriviste and deceitful

system, no different from the political systems of our esteemed
country, but on a smaller scale. The other is that part of the prob-
lem lies in the fact that the criteria are bought, and also sold; and
I say this precisely because a short while ago, I had the chance
to read comments published in newspapers and social networks,

of Artists, which is now in its 44th edition.

It didn’t take much effort to notice that none of the texts managed
to make it clear whether the criteria of those who wrote them were

strategic convenience or an obvious personal grudge. Without

even seeing it, the event was disparaged because the author felt
unhappy about being left out, or because the person promotes
other, alternative kinds of events, on the one hand, or is puffed

-
ing about the current National Salon of Artists. In the world of art,
serious criteria seem to always be utopian.

because they resent not having been chosen, which demonstrates

a deep-rooted resentment which overpowers their apparent
“concern” with the current state of the Salons in the history of
Colombian art, and therefore shows that that approach cannot be
regarded as based on real criteria.

*(Medellín, Colombia, 1987) Graduated in Visual Arts and studied Cultural

Journalism and Art Criticism, Aesthetics, and 18th Century Art Theory at

She also works with the publishing collective La Artillería in Medellín and
writes about art and culture for several publications.

282 / 283
textos ya se han escrito muchos. En nuestro sistema artístico los
llaman, a veces, “crítica institucional”. Así, vale recordar los egos

como el privilegio expositivo de unos artistas sobre otros, o la

-

Medellín a tragarme mis palabras”.

-
clusiones y hacer un balance objetivo sobre el 44 Salón Nacional
de Artistas

lo hicieron”) habrá cosas tan positivas y destacables como otras

es una crítica real o tener criterio, y no lo diferencian de una pata-

ecosistema cultural colombiano solo sirven para ostentarlos en

sus redes sociales?

Desde la perspectiva del NO hacia el Salón (es inevitable para mí

relacionar este texto con la situación actual del país) se estimaron

hacerse propaganda es denigrando a los demás.

Indudablemente, siendo el Salón Nacional de Artistas el evento

más grande y antiguo del país, siempre será un caldo de cultivo

como una plataforma y, sobre todo, como magneto de públicos.

nuevos espacios, y de otras perspectivas expositivas durante los

Casi como una cuota común a pagar, cada Salón ha sido desnu-
trido a su manera, cada versión es un punto focal de inconformi-

y como lo hemos conocido hasta hoy, no nació para ser el evento

de la unidad y la fraternidad en el mundo artístico colombiano;
por el contrario, cada Salón —y en especial el de este año— surge
Anyway, there isn’t any difference between that approach and
that of the child who throws a tantrum because he or she didn’t
get a piece of cake at the end of a birthday party. A lot has already
been written about those kinds of essays. In our artistic system,

to recall the wounded egos in the previous (inter)National Salon,

held in the city of Medellín, which, while guilty certain curatorial
excesses, like the favoring of some artists over others in the exhi-
bition, or the complicated rhetoric tangled in the philosophy of

detect, so that even the most skeptical members of the audience

were forced to acknowledge them, saying “I have come to Medellín
to eat my words.”

Now, it is probable that when we reach our conclusions and make

an objective assessment of the 44th National Salon of Artists with
sound judgment and a true ethic (not the kind based on “I didn’t
like it because I wasn’t invited,” “I liked it because they did invite
me,” etc.), there will have been some positive and outstanding

following: Why do those who form part of the art world have such
a poor understanding of what real criticism or valid criteria are?
Why can’t they distinguish that from a personal temper tantrum?
What is the point of our reading books about the philosophy of art,
art criticism, and aesthetics at the university? Why do you sit down

the degrees obtained by everyone who belongs to the ecosys-

tem of Colombian culture only serve as a way to show off on their
social networks?

From the point of view of the Salon’s “No’s”, or naysayers (I can’t

help connecting this essay with the current referendum on the
Peace Agreement between the government and the FARC guerrilla),
it was possible to detect the bias of people associated with insti-

other events, and thus the unfortunate truth became clear: in our
artistic setting, the only possible way to call attention to oneself is
to belittle others.

There is no doubt that, as the biggest and oldest event of its kind
in the country, the National Salon of Artists will be a breeding
ground from which other ideas may arise by using that core event
as a platform, and above all a magnet to attract an audience. How-
ever, it is only fair to clarify that the emergence of new venues and

be truly positive insofar as they are initiatives which nourish the

Almost as though it were a fee that everyone must pay, each Salon
has been malnourished in its own way: each edition becomes the

284 / 285
preguntas sobre los preceptos artísticos, culturales y políticos

Colombia. Los Salones son “(…) un lente sobre las realidades

comprender los accidentes, fallas y ondulaciones de un suelo

-
cas y políticas en un país donde risa y temblor se confunden”.

El nuevo siglo trajo consigo cambios radicales en los formatos del

pertinencia de un arte “reivindicatorio” en un sentido contextual

incluyeron un componente internacional, lejos de ser una “manía”

autista donde solo tendría cabida lo “propio y lo vernáculo”, es

una necesidad fundamental para el arte, en Colombia y en cual-

y de pensar —sea bajo diferentes modos de inserción del arte en

la vida cotidiana o mediante la reelaboración de los conceptos
-

A pesar de las críticas a la institucionalidad cerrada y al mani-

por fuera de los cánones de la institución.

lo tanto, un terreno peligroso; su peligro radica justamente en

-
festaciones artísticas nacionales. Cada versión se ve obligada a

estéticos no pueden ser periféricos a los asuntos de la realidad

nacional. La debilidad de cada Salón Nacional no corresponde
pues a una premeditación ensañada contra los artistas, los modus
operandi
Salon of Artists, in its current form, was not originally meant to
be an event to bring unity and fraternity to the Colombian art
world but, on the contrary, each Salon, and especially this year’s

-
ciples that have thrived in Colombia for many years. The Salons
are, “a lens on the everyday realities that construct our social
landscapes; a lookout tower which enables us to perceive the fea-
tures, faults, and undulations of a land which is constantly being

stresses in a country where laughter and trembling are hard to

distinguish.”

The new century has brought radical changes to the format of

the Salon, which also seemed to have been a result of the new
philosophical reforms that allowed us to unlink history from

a “vindicating” art, in a contextual and social sense, which went

pure and untouchable art that stood on the pedestal of the insti-
tutions. That standpoint, which the art critic Marta Traba called
the “thermometer of Colombian art,” no longer had meaning for a
dismembered country which needed for art to stop being so self-
absorbed and to begin perceiving the links it had, not only with
the rest of Latin America, but also with what was happening in the
rest of the world.

In that regard, far from being an uncomfortable “mania”, as it is in

the eyes of those who continue to feed off an autistic discourse
where there is only room for the “the proper and the vernacular”,
the invention of curatorial concepts with an international com-
ponent is a fundamental necessity for art, both in Colombia and
elsewhere. Such a recognition of other ways of feeling, doing, and
thinking, whether by employing different ways of inserting art into
daily life or by reformulating ideas about the role of art, includes
-
ence that a major event should encourage, and all these things are
part of the responsibility which should be assumed by the indi-
viduals who operate a machinery of art that cannot function on
its own.

Despite the criticisms about its closed nature and aesthetic

Manichaeism of the National Salon, one can see a new aspect in
each edition, and in AÚN, that would even seem to go beyond the
canons of the Salon as institution.

Nowadays, the National Salon of Artists is a shaky ground and

therefore, a dangerous one. The danger lies precisely in the fact
that it makes us nervous to see how it undermines the symbolic
pretensions of national artistic expressions. The curators of each

286 / 287
fuera todos los demás.

Entre tanto, las formas posibles de estar en contra de una

propuesta institucional, donde las “tiranías curatoriales”, como

paradójicamente no se muestran discordantes con estas mismas

políticas de estructuración en los eventos alternos. Quienes
critican las tiranías estéticas, expositivas y complacientes con

complacientes con su idiosincrasia, pues están contaminadas

motivación artística real. Sus discursos se vuelven igual de mani-

mi ideología no es un criterio, pero en el mundo del arte lo es,

compra y se vende.

La aprehensión (interpretación o lectura) de la obra artística y de

un evento como un Salón Nacional debe ser el preámbulo para

la formación de un criterio o un juicio verdadero. Los cambios de
sensibilidades personales, según se exponen públicamente en lo

mal gusto hacia las personas involucradas con un pensamiento

una forma de hacer arte o incluso, anacrónicamente, un estilo.

una manera de encontrar posibles vínculos con eventos alternos

curadurías y actividades, y cuya propuesta apunta a la pluralidad

el modelo actual del Salón (malestar siempre presente, claro) se

apacigüe por el gesto estratégico (no podría asegurar si positivo
o negativo) de seleccionar a casi todo el mundo; es decir, tenerlos

pluralista donde todos tienen cabida no incita, de alguna forma, a

la falta de unidad desde un componente formal y unos conceptos

expositivas y, por ende, curatoriales en el discurso de proyectos

establishment.
edition have been forced to reformulate what its predecessor
might have dismissed. That is why it is worth acknowledging that
the Salons have shown us, each in their own way, that aesthetic
matters cannot be peripheral to the reality of the country. Thus,
the weakness of any one Salon does not amount to a premedi-
tated assault against the artists, modus operandi, or aesthetic
ideas of those who have been left out. That weakness is inevi-
table, because the dynamics responsible for choosing some artists
means, implicitly, leaving everyone else out.

In the meantime, the different ways of opposing an institutional

approach, which blame what is often called the “tyranny of cura-
tors” for laying out a disgraceful artistic terrain, paradoxically
do not disagree with those same policies when it is their turn to

being tyrannical about their aesthetic standards and the artists

they choose, as well as for being too indulgent towards the art
market, are also tyrannical in their way, contaminated, as they are,

discourses become just as Manichean, deceitful and demagogical

Nor is it possible to speak of an ideal of “pluralism” or “democ-

racy” in the approach to exhibitions, or that “egalitarian, free and

it does not exist. It is a major error to believe that one is not a

-
terion, but it becomes one in the world of art, because, as I said
above, criteria are bought and sold.

The apprehension (interpretation or reading) of a work of art and

Salon poses should be the preamble for the formation of a true

criterion or judgment. The shifts in personal sensibilities, as
they are publicly seen in what we usually call art criticism, which
includes taunts and jokes in bad taste about people who think dif-

even that anachronistic term, style.

need to create meeting points for everything that happens in the

alternative events, displaying an especially wide range of prac-

tices, curatorial philosophies, and activities, so that it does point
to the ideal of an artistic and educational plurality.

This has helped to soften the uneasiness some feel about the
current model of the Salon (an eternal problem, of course), thanks
to its strategic gesture of choosing nearly everyone (though we
can’t say for sure if it is positive or negative); in other words,

288 / 289
 -
moslo o no, está mal estructurado o acapara los discursos como
simples caprichos curatoriales para satisfacer a un “mercado”; y

la revolución, es un dechado de honestidad y buenas virtudes con

-

las maneras de hacer arte con las ideologías determinantes de

cada momento histórico. Como consecuencia, tenemos un arte
nacional desmembrado, contradictorio desde el núcleo y con-
tradictorio en la periferia; un terreno artístico donde proliferan

a los demás.

Este es el paisaje político colombiano y lo venimos replicando

desde el arte, como ya señalé anteriormente, a una menor

como la más grande exaltación del desarrollo social e intelec-

del panorama cultural.

ofensa personal, el insulto o la injuria, las burlas facebookeras

las plataformas de crítica cultural solo se convirtieron en un

cúmulo de memes y chistes de mal gusto hechos por personas
aparentemente estudiadas, aparentemente “críticas” y, aparen-
temente, con criterios claros. Esto, a lo sumo, constituye una

de comunicación, cumplen una función pedagógica en cuanto a la

crítica de arte.

¿Cómo debería dialogar entonces la crítica de arte en el debate

sobre el arte actual? Ante todo, propongo subrayar la palabra dia-
logar
manera contraproducente para la claridad en las nociones sobre
crítica de arte, entendemos por crítica, cuando es académica, una
serie de textos cargados de términos densos y de difícil com-

detractores sean más grandilocuentes y utilicen términos pompo-

sos contaminados por las ínfulas de ser “la verdad” ilustrada.

de la burla, pero con las mismas ínfulas de ser “la verdad”. A

AÚN
making everyone happy. However, it is worth wondering if that
pluralist gesture, whereby there is room for everybody, would
not lead in any way to a lack of unity from a formal point of view
or a conceptual framework —curatorial, in the end— that should
not be arbitrary about setting the strategies for the exhibitions
and the use of a discourse with an inclusive, Anti-Establishment
philosophy.

-
torial whims to satisfy a “market;” and not everything outside
that sphere, in terms of dissident or revolutionary opinions, is a
paragon of honesty and sound virtues based on excellent con-
ceptual and formal strategies. There lies the paradox: the history

-
dance with the ideologies that are in fashion at a given time.
Thus, we have a national art with a split core and a contradictory
periphery; an artistic terrain where ill-tempered opinions abound,
but one that is meager in true criticism that acknowledges its own
shortcomings and goes beyond the simple pointing out of every-
one else as tyrants.

That is the landscape of Colombian politics and we have been

reproducing it in our art, on a lesser scale, to be sure, as I
remarked above, whereas, on the contrary, art should position
itself as the grandest exaltation of the social and intellectual evo-
lution of the human spirit, because that is what makes it part of
our cultural panorama.

With regard to that point, like the fallible Colombians we are, we

think that criticism is a matter of making fun of others. Here, criti-
cism amounts to using personal insults or slanders, to Facebook
-
onstration of “guts” and “honesty.” It distresses me to see that
even the platforms of cultural criticism have become a heap of
memes and jokes in bad taste, made by people that are apparently
cultured, apparently “critical”, and with apparently clear criteria.
This, in short, is an irresponsible way of confusing the spectators,
who have the bad habit of thinking that the websites on “culture”
or communication systems in general play an educational role in
art criticism.

How, then, should art criticism dialogue with the debates on con-
temporary art? Above all, I underline the word “dialogue,” because
that is what it should do but rarely does. The approach I am speak-
ing of is counterproductive when it comes to clarifying ideas about
art criticism. When it is of the academic kind, we think of criticism

that close off the possibility of a debate, unless the opponents are

of being “the truth” revealed.

290 / 291
44 Salón Nacional de Artistas

expositivo y discursivo para el arte a nivel nacional y ante los

Esto debe hacerse sin recargas demagógicas y sin mofas.

-
face o no a la mayoría de los públicos, o si debería, en su defecto,
hacerlo, son discusiones áridas y sin sentido real de autoevalua-

-
-

artísticas contemporáneas” como se volvió moda nombrarlas, y

si logra establecer puentes entre públicos, instituciones y dis-

consideradas como un fragmento (¡cuidado!, solo un fragmento)

y una realidad social y política latinoamericana, y sus modos

de trabajar no solo los conceptos sino la materia y la forma.

originando discusiones y malestares, han podido estimarse como

el arte nacional. Sin embargo, como todo fragmento, también

salones? No. Justamente, esto los convierte en un síntoma de

nos han empujado a preguntarnos si debe el Salón volver a sus

modelos tradicionales —cuando no existía el concepto “curar”—.

-
rías cerradas o poco consecuentes con nuestra realidad.

un sistema corrupto, aparente, principalmente arribista y embus-

tero; nada distinto a los sistemas políticos de nuestro estimado
On the other hand, non-academic criticism, in the sense that it

misinforming and distorting its meanings through mockery, with

the same pretense of being “the truth.” That is what is called a
“democratic, open, and pluralist criticism.” The 44th National Salon
of Art, AÚN -
ity and a cool head, regarding what it means to be a national
showcase for exhibiting and assessing Colombian art and about
the links it may forge (or not) with the art of other lands. All this

It is worth clarifying that the discussions about whether a National

Salon does or does not satisfy most the public or if it should do
that, are arid and without any real meaning in the sense of self-
criticism and a critical assessment of discourses, because, in the

this public” and “what exactly does it mean to form part of the
‘majority’?” Once again, the discussion becomes hermetic and
makes it impossible to establish a true dialogue.

If we are going to talk about making concessions to the public, it

would be better to ask ourselves whether AÚN really moves the

truly considers those “contemporary practices of art” (as they are

fashionably called) and if it manages to establish bridges between
the public, the institutions and the discourses. We should be

fragment (warning: only a fragment!) of what can be understood

as the panorama of Colombian art, the concerns of the artists who
participate in the dynamics, and the social and political reality of
Latin America, and their ways of working not only with concepts
but with materials and forms.

Thus, it is fair to say that the previous Salons, even though they

illustrate the philosophical and creative reality of Colombian art.

Nevertheless, like any fragment, they have also ignored situations,
artists and idiosyncrasies that wanted to be included. Does that

-
ing, and which have forced us to ask ourselves whether the Salon
should return to its traditional model, before the irruption of the
idea of “curating.”

In fact, what should be happening or might continue to happen

is that we assess the relevance of the concepts which each Salon
sets forth in order to reach a curatorial concept which really
secures a consensus and includes a large part of what it means to
make art in Colombia. Perhaps the debate has been poorly framed
from the start. Perhaps the problem isn’t that there exists a model

292 / 293
suelen contaminar los criterios, tanto como el rencor contamina
los diálogos (hablo de nuestro país y hablo del mundo del arte).

Interpretando a José Luis Brea desde un planteamiento crítico,

En este caso, el Salón Nacional de Artistas puede mostrarnos

esos discursos V de Venganza

of a “curated” Salon but that the curatorial ideas are too narrow or
unrelated to our reality.

To conclude, it is worth recalling that the “art world is a corrupt,

feigned and mainly arriviste and deceitful system, no differ-
ent from the political systems of our esteemed country but on a
smaller scale.” It is worth recalling because the intention of a text
should not be to glorify something to which one belongs, or to
scorn it because one is an outsider. Loyalties usually spoil criteria,
just as resentment spoils dialogues (I am speaking both about our
country and the world of art).

Following the ideas of José Luis Brea from a critical standpoint, I

is to point out the sensitive areas (aesthetically speaking) which

bring about a variety of reactions, act as complements which
detect the breaking points in each system (artistic, political, and
social) and project truths which manifest the sense in which the
symbolic creations of artists are not only valuable for what they
say, but also for the way they exceed what we think we understand
in them, what is not explicitly announced.

In this case, the National Salon of Artists may show us why every

of exclusion. Instead of provoking a “cultural violence” on the lines

of V for Vendetta, -

backlight, suggests “a whole other world which escapes us.”

294 / 295
Territorio y performatividad

1. ELOGIO DE LA OPACIDAD

En la selva del Chocó se estrelló una avioneta. Se salvó una

mujer de 18 años con su bebé de brazos. Sobrevivieron después
de pasar cuatro días en la manigua. Uno quiere verlo todo: los
harapos de la señora, las serpientes que la rodearon, el río del
que tomó agua y los cocos de los que se alimentó durante esos
días. La miseria: uno la quiere ver.

Pero el noticiero solo muestra dos imágenes en loop: un res-

catista del ejército abrazando al niño, y otro militar abrazando
a la señora.

Uno quiere ver más, uno quiere saber más y, sobre todo, quiere

el sufrimiento.

Lo incompleto de la narración y de las historias no corresponde

únicamente al hecho de que fue imposible tomar más fotos
durante el desastre. No contarlo ni mostrarlo todo es también
un mecanismo de dominación. A veces, dominar es sinónimo de
seducir o de conquistar.

Representar es intentar “atrapar” una esencia, aun sabiendo que

no existen esencias sino circunstancias; se trata, por lo tanto, de
una empresa destinada al fracaso. La investigación social en las
-
tar” más que “capturar”.

Al capturarlo, el militar no está “cazando” un guerrillero, sino

que se está inventando un enemigo; así como cuando intentamos
darle un nombre a algo que no lo tiene aún.

*(Cali, Colombia, 1983)

Ha trabajado principalmente editando publicaciones, curando exposiciones

con Mónica Restrepo, Herlyng Ferla y Hernán Barón) La Nocturna, una plata-
forma de experimentación a partir de formatos discursivos y pedagógicos.
Territory and performativity
Three stitches about a missing concept
*

1. IN PRAISE OF OPACITY

A light plane crashed in the jungle of Chocó. A woman and the

baby in her arms were saved. They survived after spending four
days in the jungle. One would like to see it all: the ragged clothes
of the lady, the snakes which surrounded her, the river she drank
water from, and the coconuts she ate during those days. Misery:
one wants to see it.

But the TV news only shows a loop of two pictures: the soldier
who rescued them hugging the boy and another soldier hugging
the lady.

One wants to see more, one wants to know more, and above all,
see pictures representing what suffering is with pornographic
exactness.

The incompleteness of the narration and the stories is owed

not only to the fact that it was impossible to take more photos
of the accident. The refusal to tell or show is also a mechanism
of domination. At times, dominating is a synonym of seducing
or conquering.

To represent is to try to “trap” the essence of something, even

knowing that essences do not exist, but only circumstances. Thus,
we are speaking of an enterprise doomed to failure. In recent
decades, the social sciences have shown how representing means
“inventing” more than “capturing.”

When a soldier captures a guerrillero, the soldier is not “hunting”

him but inventing an enemy; just as when we try to give a name to
something that does not have one yet.

*(Cali, Colombia, 1983)

She has worked as an editor, curator and writer. She was part of the work
group of Lugar a dudas and founded (alongside Mónica Restrepo, Herlyng
Ferla and Hernán Barón) La Nocturna, a platform that experiments with
discursive and pedagogical formats.

296 / 297
A veces el escritor es consciente del fracaso de las palabras tratan-
do de atrapar objetos o imágenes, y quizá esta constituye una
regla de la higiene o la moral del arte: hacer cosas (una obra, un
texto, una curaduría, una crítica, un trabajo de mediación) desde la
consciencia de la distancia entre una cosa y su representación, o la
consciencia de la imposibilidad de acceder a la “la cosa en sí”.

omisiones del artista (la ausencia o el silencio) hacen parte

de su estrategia.

El escritor, como el artista, se sabe estratega: busca hacer cons-

ciencia de qué mostrar y qué ocultar para seducir a un lector.
Nada diferente a cuando tenemos un ratón en la casa y pensamos
qué tipo de queso usar en la trampa, dónde ubicarla y en qué
momentos exactos hacer silencio. Nada distinto a lo que hizo esa
muchacha de 18 años, que iba dejando su celular, el tetero del
niño y su reloj, a medida que avanzaba por la selva. Pistas. Signos.
Interprétenme, búsquenme por favor.

Siempre estamos buscando atrapar un objeto, queriendo compren-

der algo, conscientes de que todo es escurridizo. Queremos seducir
a un amante, deseamos todo lo que nos es esquivo.

una de las mejores declaraciones sobre arte, y sobre la relación del

pecado es imaginar mal los paraísos. Y le añado yo: le pedimos a

los textos, o al discurso del curador, que hagan del arte un paraíso
sin opacidad, que transformen la selva del arte en un terreno de
seguridad garantizada.

A veces a los artistas les gusta ocultar de más, pensando que ese
es el anzuelo correcto que atrapará la curiosidad de su público.
A veces los artistas deciden ocultar de más porque le apuestan
a construir un nuevo tipo de curiosidad, más allá de las lógicas
de la propaganda —ese lenguaje que tiene un único propósito: el
de convencer—. Quizá los artistas buscan el arte para huir de la
“Neolengua”, ese intento fracasado por construir un lenguaje sin
ambigüedad semántica.

Los artistas saben que el problema no es desconocer, o no enten-

der, el problema es cómo nos relacionamos con lo que no enten-
demos. Si lo juzgamos o lo interrogamos. Si despierta nuestra
curiosidad, nuestra xenofobia, o nuestros juicios morales que se
reducen a tres adjetivos o expresiones que no nos dejan ver nada:
¡mediocre!, ¡perezoso!, ¡no se entiende nada! El público está tan a
tientas en medio de la selva, como lo está el artista.

A la muchacha que sobrevivió en la manigua con su bebé, no le

diríamos: “¡mediocre, qué malas pistas dejaste!, por tu culpa nos
demoramos tanto tiempo en rescatarte”; al contrario, sus rescatis-
tas pusieron todo de sí para interpretar las mínimas y ambiguas
At times, the writer is aware of the failure of words in the attempt
to trap objects or images and perhaps that amounts to a rule
about the hygiene or morality of art: to make things (a work of
art, a text, a curatorship, a critical essay, a mediation) with the
awareness of the distance between a thing and its representa-
tion, or the awareness that it is impossible to gain access to “the
thing in itself.”

Instead of judging, the curious audience prefers to think

that the omissions of the artist (absence or silence) are part
of his strategy.

The writer, like the artist, knows about strategy: she tries to be
aware of what to show and what to hide, in order to seduce a
reader. It is no different to when we have a mouse at home and
think about what kind of cheese to use in the trap, where to put
it, and the precise moment to be silent. It is no different from that
18-year-oldgirl who left behind her cell phone, her child’s bottle,
and her watch as she wandered through the jungle. Traces. Signs.

We are always seeking to trap an object, wanting to understand

something, aware that everything is slippery. We want to seduce
a lover; we desire everything which is elusive to us.

Estanislao Zuleta’s can be read as one of

the best statements about art and about the relation between art
and the word. In that speech, the philosopher made an accusa-
tion: our sin is the failure to imagine paradises. And I would add:
we ask of the texts, or the discourse of the curator, that they turn
art into a paradise without opacity, one which transforms the
jungle of art into a terrain of guaranteed safety.

At times, artists like to conceal too much, thinking that that is the
right hook to trap their public’s curiosity. At times, artists decide
to hide too much because they wager on creating a new kind of
curiosity, beyond the logics of propaganda, that language which
has a single purpose: to convince. Perhaps artists turn to art to
-
guage without semantic ambiguity.

Artists know that the problem is not ignorance or a failure to

understand: the problem is how we relate to that which we do not
understand. Whether to judge it or interrogate it. If it awakens
our curiosity, our xenophobia, or our moral judgments, which can
be reduced to three adjectives or expressions which do not allow
us to see anything: mediocre! lazy! It’s impossible to understand
that the audience gropes its way through the jungle as much as
the artist does.

We wouldn’t say to the girl who survived in the jungle with her
baby: “You mediocre girl, what lousy clues you left! It’s your fault
it took us so long to rescue you.” On the contrary, her rescuers

298 / 299
señas que dejó. Cada signo podía representar que ella había sido
tragada por la selva, o que estaba viva tratando de comunicarse.
El arte, como el rescate, es una tarea de fe. Si uno quiere ver, ve, y
si no ve, se lo puede inventar. Aunque también uno puede decidir
dejar que el artista se pierda en la selva, y también está bien, por-
que no se le hace daño a nadie y nadie se va a morir, pues el arte,

En un mundo en el que cada vez hay menos espacio para la

curiosidad, el artista busca construir lugares para la opacidad;
y en vez de pavimentar una carretera en medio de la manigua,
recurre a la estrategia de dejar migas de pan como Hansel y Gretel.
Los artistas juegan con el peligro de nunca ser rescatados de la

la carretera.

de la representación. Mordemos anzuelos ante la promesa de

una saciedad que nunca llega. Y hay algo de liberador en saber

de invención de cada interpretación: con cada nombre se crea el

mundo y se establece una nueva manera de nombrar.

***

se va construyendo y destruyendo a cada paso, y atreverse a

decide no explicar mucho, no ser muy explicativo en el texto, y

no hacer una exposición temática. Intenta, más bien, un experi-

individualidades se confundan y todas ellas formen un solo cuer-

diseño del espacio y de la situación?

gave all they had trying to interpret her minimal and ambiguous
traces. Each sign might just as well have meant that she had been
devoured by the jungle or that she was alive and trying to com-
municate with the outside world. Art, like rescue, is a matter of
faith. If you want to see it, you see it, and if you don’t see it, you
can invent it. Although one may also decide to let the artist get
lost in the jungle, and that is all right too, because you harm no
one and no one is going to die, since, art, in the end, is an experi-
ment without truth.

In a world where there is less and less room for curiosity, the
artist tries to build places for opacity and instead of paving
a highway through the jungle, recurs to the strategy of leav-
ing bread crumbs in his wake, like Hansel and Gretel. Artists
play with the danger of never being rescued from the jungle
and they prefer that risk to destroying the jungle by paving it
over with roads.

-
tion. We bite hooks in the face of a promise of satiety which is
never met. And there is something liberating about knowing that

invention in each interpretation. With each name you create the

world and establish a new way of naming.

***

The above was the introduction to an essay I wrote to complain

about a situation in which the critics and part of the public
labeled one of the previous regional salons of artists a “cura-
torial mistake”. With that essay I wanted to point out that the
failure to dare to walk a curatorial project as if it were a jungle,
with a meaning that gets built and destroyed on every step,
implied an essentialist position that takes for granted that terms
like “success” or “failure” are intrinsic properties of our works. In
fact, it ignores that it is all a matter of negotiated meanings (the

not think of the curatorship itself as a territory that we travel

through without carrying too many weapons to defend ourselves?

In that exhibit, the curator proposed a show where he decides

not to explain so much, with a non-didactic text and a refusal

methodological experiment: if we want to investigate collectivi-

ties, why not mount an exhibition in which the individualities
merge into each other, forming a single indivisible body? In that
sense, more than a representation of our theme —that is, the
collective— why not embody it in the very methodology of the
exhibition, in the manner in which we use the design of the space

300 / 301
las obras como una ilustración de este. La exposición temática,

se recorre con machete, crea una tajante división entre sujeto y

2. En un Salón Nacional de Artistas, el texto curatorial estaba

construido a partir de algunos fragmentos como estos:

(…) el aún requiere del presente un ejercicio de libertad sin prome-

sa (…) Sin un para siempre, el aún avanza, revelando un horizonte
móvil, hacia el que nos dirigimos sin nunca llegar (…) Ante la
manigua, la trocha. Ante lo inexpugnable, el paso que se abre a
machete. Ante la soledad, la mula, la fonda, la canción. La trocha
no es autopista, es camino de contrabandistas, de ladrones, de
exploradores. La trocha nos responde cada vez que preguntamos
dónde estamos y de dónde venimos, por dónde vamos pasando
y hacia dónde estamos yendo. Estas preguntas por el carácter de
esos espacios que atravesamos antes de tomar posesión y de posi-
cionarnos, se nos cuenta, eran el punto de inicio para la enseñanza
antigua del latín: Ubi, Quo, Unde, Qua. La trocha es cultura, es el
camino —que en griego es Odos— y es también, de alguna manera,

en la propia marcha y en el cruce fortuito con otros senderos.

se abre camino. Esa es una gran metáfora para describir

con entender con el cuerpo. ¿Cómo convertir la trocha en

un método y no en un tema para ser representado?

arte nacional: un jurado elegía lo mejor, el arte más representativo

de Colombia. Este formato inicial se basaba en varias ideas: 1) Que

-
torio es una tarea plausible. 3) Que existe algo como “identidad”

Por lo problemático de estas ideas positivistas y esencialistas

respecto al territorio y su representabilidad, hace aproximada-

de investigación curatorial por región, encargadas de investigar

A number of critics reacted negatively because they encoun-
tered a curatorial format that did not resemble the conventional
exhibitions they had seen, which illustrate a theme and arrange
the works in order to illustrate it. In contrast with the exhibi-
tion conceived as a territory that you traverse with a machete,
the thematic exhibition creates a sharp division between subject
and object. While necessary, thematic exhibitions keep us in a
classical epistemology where we assume the world as know-

distance ourselves from it. It is an epistemology that maybe does

2. In one edition of the National Salon of Artists, the curatorial

essay was constructed of fragments like the following:

(...) The notion of “yet” requires from the present an exercise of

freedom without promises (...) Without a “forever,” the “yet” moves
forward, revealing a moving horizon, one which we head for
without ever reaching it (...) When faced with the jungle, the trail.
When faced with the impregnable, a machete-cleared path. When
faced with solitude, the mule, the inn, the song. The trail is no
motorway; it’s the path trod by smugglers, thieves, and explorers.
The trail responds when we ask where we are, where we’re from,
where we’re passing through, and where we’re headed. These
questions regarding the nature of the spaces we travel through
before taking possession and positioning ourselves, we are told,
were the starting point for the ancient teaching of Latin: Ubi, Quo,
Unde, Qua. The trail is culture, it is the way —Odos in Greek— and
it is also, in a way, an initial method: a clearing of obstacles, a
connecting of separate points, trusting one’s step and the fortu-
itous crossing of other trails.

The track is that trail which does not exist before the walk but is
opened, by machete, as you traverse it. That is the great meta-
phor to describe what “performativity” means. “To perform” is a
very different verb from “to represent.” The former has more to
do with understanding with the body. How do you turn the track
into a method and not a theme to be represented?

3. The National Salons of Colombian Art, created by the govern-

ment 76 years ago, were an effort to represent the nation’s art: a
jury chose the best, the most representative Colombian art. This
initial format was based on several ideas: 1) That “territory” is a
physical entity, which is given by and reduced to geography. 2)
That, as such, it is a plausible enterprise to faithfully represent a

kind of “national art” does really exist.

About ten years ago, due to the problematic nature of these posi-
tivist and essentialist notions of territory and the possibility of
representing it, the government changed the format, awarding

302 / 303
constelación de ideas.

Lo más interesante de este nuevo modelo —al menos en teoría—

-

constelación de ideas y formas investigadas. Segundo, este mode-

instituciones, etc. En ese sentido, se trata de una visión más

-

noción de territorio de esa manera desmantela también la noción

de identidad en general, y de identidad supeditada a un lugar

estudio” por “territorio de estudio”. La primera noción implicaba,

sentido, es abarcable la empresa de hacer una representación —

cambio, en el territorio estamos inmersos, en el territorio el sujeto

observador y el objeto observado se confunden. No podríamos
-
mos con la vista nublada, llenos de manigua alrededor, tratando

¿Qué pasa si vemos el ejercicio curatorial así? ¿Qué pasa si vemos

de esa manera la investigación en humanidades y ciencias socia-

de encarnarlo. Insistir en la noción de territorio es insistir en la

noción de performatividad.

territorio se negocia, es decir, privilegiando la acepción performati-

-

otras formas de entender, de entender con el cuerpo, por ejemplo,

activando otros mecanismos cognitivos, distintos a los usuales.
fellowships for curatorial research by regions, so that those
responsible would investigate each part of the country based on
a hypothesis, a theme, a constellation of ideas.

The most interesting thing about this new model, at least in

issue, but each version of the salon would be regarded as a con-

stellation of researched ideas and forms. Second, this model set
out to change what the notion of territory meant for the Salons,

but a network of practices, effects, discourses, institutions, etc.

In that regard, it is a more performative vision: instead of con-

sidering everything a given, it is something created as you go
along, a path that takes shape as you walk. To look at the notion
of territory in that way also dismantles the notion of identity in
general and of an identity subordinated to a geographical place.
Finally, the other interesting thing is that this new model, in

4. This new notion of territory implies a bodily arrangement

artist) once suggested that I change the term “object of study”

something tangible which you can grab with your hand, some-
thing which you can see as separate from yourself, and in that
sense, it considers it possible to make a representation of that
object, one that is faithful, just, complete, clear, objective, and

territory, the observing subject and the observed object merge.

We cannot speak of objectivity because we are immersed in
drowsiness, our sight is clouded, we are surrounded by a form-
less jungle, trying to walk a path that does not exist.

What would happen if we looked at the curatorial exercise in

that way? What would happen if we looked at research into the
humanities and social sciences in that way? How should we
change our methodologies?

In curatorial terms, regarding the paradigm of territory, if we

choose to call it that, we would have to change our mimetic
insistence on representing a theme instead of embodying it. To
insist on this new notion of territory is to insist on the notion of
performativity.

To build something like a territory —considering that we are

negotiating it, stressing its performative meaning— we would
have to mount exhibitions which are less measurable, less easy
to classify, name, domesticate, and consume. Or, as a friend
said, less consumer-friendly. Perhaps that can be achieved with
more distrust of mimesis, and of mimesis as the primordial func-
tion of art. Perhaps that would open the way to other ways of

304 / 305
han tenido lugar en Colombia en las últimas décadas —incluidas
las múltiples discusiones acerca de los formatos del Salón

concepto de performatividad en este país se desprecia o se igno-

posibilidad de rescate.
understanding, of understanding with the body, for example, acti-
vating other cognitive mechanisms, different from our usual ones.

I would dare to say that a good part of the misunderstandings

which have taken place in Colombia in recent years, including the
many controversies about the formats of the National Salon and
the regional ones, are related with the concept of performativity,
which is scorned or ignored in this country: we have not dared to
imagine that art may be a jungle with no possible rescue.

306 / 307
Componente de formación
Educational Component
Este componente del 44 Salón Nacional
de Artistas se planteó como un proceso
transversal para resolver tres problemas
estructurales. El primero, capacitar a
trabajar en sus actividades de pre-
producción y producción y crear una
base operativa sólida para apoyar las
Este momento partió de una propuesta
Margarita Pineda e implementada por
relacionadas con el montaje, la produc-
ción y la coordinación de exposiciones,
para luego plantear una serie de talleres
apropiados a las necesidades locales.
La segunda fase buscó crear y consolidar
un grupo de mediadores para el Salón,
- la capacitación pedagógica constructi-
do del conocimiento de la curaduría, las
obras, propuestas y proyectos artísticos
seleccionados y el contacto con las
personas encargadas de la concepción
del Salón (curadores y artistas). La
obvia conclusión de esta etapa fue el
de investigación en arte contemporá-
neo por parte de sus participantes.
El proceso con los mediadores se plan-
teó no como una actividad de simple
animación cultural (guías capacitados
para (per)seguir al público en cada una
de las diferentes sedes del evento), ni
como programación de espectáculos de
(shows
visibilidad mediática), sino como una obra
artística en sí misma, encomendada al
artista y pedagogo samario Edwin Jimeno,
días titulado El acto de mediación como
práctica de sensibilización e inclusión.
Desde la perspectiva de Jimeno, el pro-
p
la intervención educativa y el rol del artis-
ta mediador en una exposición de arte.
las entidades de formación en artes, hay
una creciente población de artistas con-
temporáneos. Jimeno ha aportado a este
fenómeno diseñando y aplicando talleres
de capacitación formal e informal en
arte contemporáneo dirigidos a diversas
performance, donde el
trascienden la complejidad de su actividad
de acompañamiento al público. De igual
los mediadores iba más allá de ser unos
guías entusiastas, para hacerse conscien-
tes de su gran responsabilidad al momen-
to de interpretar las obras —o de provocar
las interpretaciones de los visitantes—.
Vinculado a la idea de la formación de
mediadores, o mejor, de multiplica-
de actividades en colegios públicos
y otros espacios de las comunidades
This component of the 44th National Salon
of Artists was thought of as a cross-sec-
tional approach that sought to solve three
region-based team to work on pre-pro-
duction and production activities and
create a solid operational base to support
the exhibition’s needs, one that would be
-
ing groups which would later be able to
assume responsibility of similar events.
This phase started with a proposal made
in 2015 by Julián Urrego and Margarita
Pineda and implemented by Juana Valen-
cia, which sought to diagnose strengths
and weaknesses in different areas related
to mounting, producing, and coordinating
workshops relevant to local needs.
The second phase sought to create and
consolidate a group of willing mediators
during the Salon to strengthen a course of
study that involves knowledge of curator-
ship and of the pieces, artistic proposals,
and projects included in the exhibits,
with the aid of the people responsible for
the design of the Salon (the curators and
artists). The obvious conclusion of this
stage was the beginning or consolidation
of active cycles for research on contempo-
rary art by its participants.
The process with the mediators was
designed not as an activity simply meant
to get people interested in culture (trained
guides to help the public in each of the
different venues of the event), nor as
the scheduling of shows with a strong or
medium impact on the places where they
are held (that is, ones that were limited to
hoping for and/or attracting mass media
attention), but as a work of art in itself,
under the supervision of Edwin Jimeno,
an artist and teacher from Santa Marta
workshop titled The act of mediation as
a practice for raising awareness and pro-
moting inclusion.
As Jimeno saw it, the project had four main
aspects: the planning of the workshops,
their development, intervention in edu-
cational institutions, and the role of the
artistic mediator in art exhibitions.
While there are only a few entities devoted
to training in the arts in the Caribbean
region of Colombia, there are a growing
number of contemporary artists there.
This development has been helped by
Jimeno’s work, designing and holding
formal and informal workshops for train-
ing in contemporary art that are aimed
at different populations. For that reason,
he was invited to conceive a project
that would not consist of a single event
but rather as a series of activities that
would range from conventional educa-
tional training to performance, where the
mediator would deal with aspects which
transcend his role as a guide to the public.
Jimeno likewise believed that the work of
the mediators should go beyond acting as
enthusiastic guides, and to be aware of
their serious responsibility when it comes
to interpreting the artworks or drawing out
interpretations from visitors.
Related to the idea of training mediators
or, better yet, knowledge multipliers,
and other spaces of participating commu-
nities, where allied teachers integrated
310 / 311
participantes, donde los docentes
aliados integraron sus programas aca-
démicos con la curaduría del Salón.
Una tercera dimensión de este com-
ponente, coordinada por Alejandro
Garcés, buscó proyectar el Salón hacia
la esfera pública de la ciudad. Para
mapearon las institucio-
propuestas de investigación, formación y
creación en el Eje Cafetero para emitir una
convocatoria de formación de públicos
distintos lugares de la ciudad, talleres de
en la producción de realidad y en la
transformación de territorios, el 44 Salón
Nacional de Artistas abrió Psicotropismos.
Drogas, espectros y alucinaciones para
la transformación del ahora, un semi-
expertos nacionales e internacionales,
para la comprensión de las drogas como
espacios para el modelado cognitivo, la
rearticulación de procesos perceptivos y
una discusión local sobre los fármacos,
siempre limitada a su condición de ilega-
lidad y de productora de marginalidad.
De esta manera, el componente de
formación contempló el presente —es
decir, las necesidades de la región
-
dades técnicas— y también el futuro
el Salón, nos interesa cuestionar.
their academic programs with the exhibits
of the Salón.
A third dimension of the Educational Com-
ponent, coordinated by Alejandro Garcés,
sought to extend the reach of the Salon
to the public sphere of the city. To achieve
that, a survey was made of the institu-
groups currently carrying out proposals
for research, training, and creation in the
Coffee Axis, to issue an open call for spec-
tator education that included activities in
different parts of the city, as well as work-
44th National Salon of Artists launched
Psicotropismos. Drogas, espectros y aluci-
naciones para la transformación del ahora
[Psycho-tropisms: drugs, specters and hal-
lucinations for the transformation of the
present], a seminar which included Colom-
bian and foreign experts who created an
expanded framework for understanding
drugs as a means for cognitive modeling,
the reshaping of perceptual processes,
-
inar went beyond the limits of the usual
discussions of drugs, which are generally
limited to their illegality and their relation
to marginal sectors of society.

In that sense, the Educational Component

As a response to the needs of the the-
addressed the present—that is to say, the
oretical axis of the Salon that sought
needs of the region where it took place—to
raise public awareness, train mediators
stimulate an understanding of problems
and strengthen technical skills. It also
which transcend the artistic sphere and
addressed a possible future, an alternative
are related with the reality of the country
to a current reality that seems unavoid-
and the transformation of territories, the

312 / 313
Imágenes de los talleres para Images of Edwin Jimeno’s
mediadores a cargo de Edwin Jimeno. workshops for mediators.

314 / 315
Biografías de artistas
Artists’ biographies
Fredy Alzate (Rionegro, Colombia, 1975)

Plásticas y Visuales en la Universidad Nacional (Bogotá). Ha recibido distinciones como el

primer premio, XIX Salón Arturo y Rebeca Rabinovich (Medellín, 1999); la Beca de creación en
escultura, Alcaldía de Medellín (2012), y mención de honor en la II Bienal de Artes Plásticas y
Visuales, FUGA (Bogotá, 2012). Entre sus exposiciones individuales están Zonas Grises, Centro
León (República Dominicana, 2015); Arando en el vacío
Horror vacui La Vorágine, Galería OMR (México D.F.,
2015). Ha participado en muestras colectivas como Artists Engaged? Maybe, Fundação Calouste
Gulbenkian (Lisboa, 2014), y Pangaea: New Art from Africa and Latin America, Saatchi Gallery

Vive en Medellín.

Débora Arango (Medellín, Colombia, 1907 – 2005)

Figura clave en la pintura colombiana. Abordó de forma cruda temas sociales y políticos. En

-
cimientos como el Premio de las Artes y las Letras de la Secretaría de Educación y Cultura de

Adriana Arenas Ilian (Pereira, Colombia, 1969)

o recreada como un ready made dentro de sus instalaciones, buscando seducir a los especta-

política, la cultura y la sociedad. Ha expuesto individualmente en Galería Casas Riegner (Bogotá,

2007), Rice University Art Gallery (Houston, 2002) y Johnson County Community College, The

le permitió trabajar 6 meses en el piso 91 de las hoy desaparecidas Torres Gemelas. Su obra
Fábrica de oro y piedras preciosas ganó el Salón Nacional de Artistas (2004). Vive en Pereira.

Gonzalo Ariza (Bogotá, Colombia, 1912-1995)

1936 viajó con una beca a Japón donde estudió grabado y acuarela durante dos años. Tras el

retrospectivas en el Centro Colombo Americano (Bogotá, 1978) y el Museo Nacional de Colombia

(Bogotá, 1982). Entre otras distinciones, recibió la Condecoración Kun Santo Zuimosho, del
gobierno japonés (1985), y el Premio Cooperartes en reconocimiento a su obra (Bogotá, 1987).
Fredy Alzate (Rionegro, Colombia, 1975)

and an honorable mention at the 2nd Biennial of Fine and Visual Arts, FUGA (Bogotá, 2012). Among
his individual exhibitions are: Zonas Grises [Gray Zones], León Center (Dominican Republic, 2015);
Arando en el vacío Horror vacui, Galería de
La Vorágine [The Whirpool], Galería OMR (Mexico City, 2015). He has
participated in collective exhibitions like Artists Engaged? Maybe, Fundação Calouste Gulbenkian
(Lisbon, 2014), and Pangaea: New Art from Africa and Latin America, Saatchi Gallery (London, 2014).

Débora Arango (Medellín, Colombia, 1907 – 2005)

present a hallucinated portrait of a violent setting. Rejected by the conservative society of

her era and threatened with excommunication, Arango stopped painting in 1965 for health
reasons. After she had withdrawn from the art world for nearly a decade, her work began to
be revalued, a reassessment which ended with retrospectives in Medellín and Bogotá, and
-

(1993) and the Cross of Boyacá of the highest rank, the most important civil distinction in
the country (1994).

Adriana Arenas Ilian (Pereira, Colombia, 1969)

Arenas is a conceptual artist who assumes context as a dimension for her work and uses a cap-
tured or recreated reality as “ready-made” in her installations, seeking to beguile the spectators

She has had one-woman shows in the Galería Casas Riegner (Bogotá, 2007), the Rice University
Art Gallery (Houston, 2002), the Johnson County Community College, and the Contemporary Arts
Center (Cincinnati, 2001), among others. In 1999 she was awarded the World Views Fellowship,

work, titled Fábrica de oro y piedras preciosas

the 2004 edition of the National Salon of Artists. She lives in Pereira.

Gonzalo Ariza (Bogotá, Colombia, 1912-1995)

A watercolorist and landscape painter, he studied at the Escuela de Bellas Artes (School of Fine
Arts) of Bogotá and in 1936 won a fellowship to study engraving and watercolor in Japan for two
years. After the emergence of the critic Marta Traba and her support for the modernist painters of
the country in the 1950’s and 1960’s, he withdrew from the art scene. A decade later, he began to
exhibit again and held retrospective exhibitions at the Colombo-American Center (Bogotá, 1978)
and the National Museum of Colombia (Bogotá, 1982). Among his awards there are the Kun Santo
-

318 / 319
obra con una especial melancolía.

Elena Bajo (Madrid, España, 1975)

ecología social y la metafísica, y explora la dimensión ecológica, social y política de los espacios

entre temporalidades y subjetividades. Fue cofundadora de EXHIBITION, New York (2009) y del
colectivo D’CLUB (Divestment Club). Entre sus exposiciones recientes están Victory over the Sun,
D+T Project Gallery (Bruselas, 2016); Isle of Innocence, Kunsthalle (São Paulo, 2015), y Timeless
Considerations, Stacion – Center for Contemporary Art (Prishtina, 2014). En 2016-2017 fue premiada
por la Fundación Botín por su proyecto Urania’s Mirror. Vive en Berlín y Los Ángeles.

Alicia Barney (Cali, Colombia, 1952)

Pratt Institute, Brooklyn. Entre sus exposiciones individuales están Basurero utópico, Instituto de
Visión (Bogotá, 2015); Juguete de las Hadas, Museo de Arte de Pereira y Museo La Merced de Cali
(1998), y Aves en el cielo, Gartner Torres (Bogotá, 1993). Su trabajo ha hecho parte de muestras
colectivas como Contraexpediciones
Artistas (Cali, 2008), y Fragilidad, Museo de Arte de la Universidad Nacional (Bogotá, 1998). Ha
recibido reconocimientos como el primer premio del III Salón Regional de Artes Visuales (Cali,
1980) y la beca Francisco de Paula Santander (Bogotá, 1992). Su obra, considerada pionera dentro

Carlos Bonil (Bogotá, Colombia, 1979)

Maestro en Artes Plásticas de la Universidad Nacional de Colombia. Entre sus exposicio-
nes individuales están Bien Mostrenco, Nada a la Vista,
La Usurpadora (Puerto Colombia, 2015); Restos, Río 52 (México D.F., 2010), y ¿Puedo hacerlo
yo?
Colombia (Madrid, 2015); Bogotápolis, Stenersen Musseet (Oslo, 2013) e Imaginary Homelands,
The Art Gallery of York University (Toronto, 2012). Su obra hace parte de la Colección Jumex
y de colecciones particulares en Colombia, México y Puerto Rico. En su obra, Bonil parte de

ACyDC, Trilobite y Mugre. Vive en Bogotá.

Milena Bonilla (Bogotá, Colombia, 1975) Luisa Ungar (Bogotá, Colombia, 1976)

como CA2M – Centro de Arte Dos de Mayo (Madrid, 2015); Spring Workshop (Hong Kong, 2015);
Rongwrong (Amsterdam, 2014); Bonneffanten Museum (Maastricht, 2014), y el proyecto Within
the Sound of your Voice en la Bienal de Marrakech (2014).

Silvie Boutiq (Bogotá, Colombia, 1966)

de Performance de Cali. Vive en Bogotá, donde maneja la Librería Errata.

and tropical landscape of Colombia. His work captures the light, atmosphere, moisture, and subtle
environmental sensations of different climates, with a special melancholy, especially in his depic-
tions of misty Andean moors.

Elena Bajo (Madrid, Spain, 1975)

Graduated as an architect from ESARQ (Barcelona) and with a MFA from the Central Saint Martins
School of Art (London). Her work lies in the intersection between anarchist thought, social ecol-
ogy, and metaphysics, and explores the ecological, social, and political dimension of everyday

temporalities and subjectivities. She was the co-founder of EXHIBITION, New York (2009) and the
D’CLUB collective (Divestment Club). Among her recent exhibitions are: Victory over the Sun, D+T
Project Gallery (Brussels, 2016); Isle of Innocence, Kunsthalle (São Paulo, 2015), and Timeless Con-
siderations, Stacion Center for Contemporary Art (Prishtina, Kosovo, 2014). In 2016-2017 the Botín
Urania’s Mirror. She lives in Berlin and Los Angeles.

Alicia Barney (Cali, Colombia, 1952)

BFA, College of New Rochelle, New York; MFA, Pratt Institute, Brooklyn. Her individual exhibitions
include Basurero utópico [Utopian Rubbish Dump], Instituto de Visión (Bogotá, 2015); Juguete de
las Hadas [Fairies’ Toy], Pereira Museum of Art and La Merced Museum of Cali (1998), and Aves
en el cielo [Birds in the sky] Gartner Torres (Bogotá, 1993). Her work has been shown in collective
exhibitions like Contraexpediciones
41st National Salon of Artists (Cali, 2008), and Fragilidad [Fragility], Art Museum of National Uni-

1980) and the Francisco de Paula Santander fellowship (Bogotá, 1992). Her work, regarded as a

and their surroundings, especially the problems of overpopulation, hunger, and the destruction
of Nature. She lives in Bogotá.

Carlos Bonil (Bogotá, Colombia, 1979)

Has a BFA in Visual Arts from the National University of Colombia. Among his one-man shows
are: Bien Mostrenco
Nada a la Vista [Nothing in Sight], La Usurpadora (Puerto Colombia, 2015); Restos [Remains], Río 52
(Mexico City, 2010), and ¿Puedo hacerlo yo?
participated in collective exhibitions like ARCO Colombia (Madrid, 2015); Bogotápolis, Stenersen
Musseet (Oslo, 2013) and Imaginary Homelands, The Art Gallery of York University (Toronto, 2012).
His work is found in the Jumex Collection and private collections in Colombia, Mexico, and Puerto
Rico. Bonil’s work is based on historically charged, obsolete objects which are disassembled and
put together again, so that they become both familiar and disturbing. In addition to his work in
visual arts, he is a musician in bands like ACyDC, Trilobite and Mugre. He lives in Bogotá.

Milena Bonilla (Bogotá, Colombia, 1975) and Luisa Ungar (Bogotá, Colombia, 1976)
Have worked together since 2014 on projects that explore how certain historical discourses are
crisscrossed by relations of power among human being, and the idea of Nature as a subject. Their
works have been shown in museums and institutions like the CA2M – 2nd of May Art Center (Madrid,
2015); Spring Workshop (Hong Kong, 2015); Rongwrong (Amsterdam, 2014); Bonneffanten Museum
(Maastricht, 2014), and the Within the Sound of your Voice project at the Marrakech Biennial (2014).

Silvie Boutiq (Bogotá, Colombia, 1966)

Is an artist with a feminist practice that uses a variety of media and strategies, ranging from per-
formance to installation, in response to the structure of the events to which she is invited. She
has participated in several versions of Performance Festival in Cali. She lives in Bogotá, where
she owns and manages the Errata Bookstore.

320 / 321
María Buenaventura (Medellín, Colombia, 1974)
Magíster en Artes Plásticas y Visuales de la Universidad Nacional, graduada en Filosof ía de
la Universidad de los Andes, siguió estudios de Creación Escénica en la Escuela Internacional de

la cocina, la instalación y la escritura, ha merecido premios como la Beca Nacional de Creación

en Artes Visuales del Ministerio de Cultura de Colombia y ha sido expuesta en Instituto de Visión
(Bogotá, 2016); MDE 15 (Medellín, 2015); Contraexpediciones,

Colombia (Bogotá, 2004), entre otros. Vive en Bogotá.

Calipso Press
Colectivo editorial formado por Eva Parra (Ciudad Real, España, 1982) Camilo Otero (Miami,
-
cadora Riso desde Cali e investigan la relación entre el arte y el diseño, la ilustración y las
narrativas visuales. En su trabajo, entienden el ejercicio editorial en un sentido amplio

de la Zona Pacífico y la Zona Centro (Cali y Bogotá, 2015), ArtBo (Bogotá, 2015), Miss
Read: The Berlin Art Book Fair (2016) y las Picnic Sessions (Móstoles, 2016). Viven en Cali.
www.calipsopress.com · facebook.com/calipsopress · instagram: @calipsopress

James Campo (Popayán, Colombia, 1981)

Maestro en Artes Plásticas de la Universidad del Cauca. Entre sus exposiciones están La
Barbarie Originaria, Museo de Arte de Pereira (2016); Exposición Alterna Corpo, Casa Museo
Diálogo Generacional, Centro Cultural Colombo Americano (Cali,
2010); , Universidad del Cauca (Popayán, 2010); Cauca pací-
(Popayán, 2012); (Bogotá, 2014), y Diáspora Zona
(Popayán, 2015). Vive en Santa Rosa, corregimiento de Popayán.

Lou Cantor
Colectivo fundado en 2011 interesado en la intersubjetividad y la comunicación interperso-
nal. En su práctica exploran el campo polisémico de la comunicación contemporánea donde

colectivas se encuentran The Labour of Watching, Leto Gallery (Varsovia, 2016), OSLO10 (2016) y
Basel 2015; Language and Misunderstanding, CUNY (Nueva York, 2015); Epistemic Excess, Artists
Space (Nueva York, 2015); la Bienal de Berlín (2012) y New National Art, Museum of Modern Art
(Varsovia, 2012). Viven en Berlín.

Antonio Caro (Bogotá, Colombia, 1950)

sus muestras individuales están En Medellín todo está muy Caro, Museo de Arte Moderno de
Medellín (2016); Todo está muy Caro Colombia Marlboro
1975-2015 Resistance
Performed—Aesthetic Strategies under Repressive Regimes in Latin America, Migros Museum
(Zúrich, 2014); Artevida, Museu de Arte Moderna (Río de Janeiro, 2014), y 43 Salón Nacional

Unidos y México. Vive en Bogotá.

María Buenaventura (Medellín, Colombia, 1974)
has a MFA from National University with an undergraduate degree in Philosophy from Los Andes

work is the growth of plants, the uses of the land, and the history of the place where she lives,
the plains of Bogotá. Her work mixes arts and skills like cooking, installation, and writing. She has
won awards like the National Fellowship for Creation in the Visual Arts of the Colombian Ministry
of Culture, and has been featured at the Instituto de Visión (Bogotá, 2016); MDE 15 (Medellín, 2015);
Contraexpediciones
2014); the Galerie Ratskeller (Berlin, 2013); the 14th Regional Salons of Artists, Central Zone (Bogotá,
Tunja, 2012); LA Galería (Bogotá, 2012); the Aliance Française (2011), and the National Museum of
Colombia, (Bogotá, 2004), among other venues. She lives in Bogotá.

Calipso Press
A publishing collective that comprises Eva Parra (Ciudad Real, Spain, 1982) and Camilo Otero (Miami,
U.S., 1983), founded in 2015 with a touch of the Mediterranean and the tropics. It works with a Riso
duplicating machine to investigate the relation between art and design, illustration and visual
narratives. It takes a broad approach to editorial practices and in addition to publications, it has
-
try (Cali and Bogotá, 2015), ArtBo (Bogotá, 2015), Miss Read: the Berlin Art Book Fair (2016) and the
Picnic Sessions (Móstoles, Spain, 2016). They live in Cali.
www.calipsopress.com · facebook.com/calipsopress · instagram: @calipsopress

James Campo (Popayán, Colombia, 1981)

studied Arts at Cauca University. Among his exhibitions are: La Barbarie Originaria [Original Bar-
barism], Pereira Museum of Art (2016); Exposición Alterna Corpo
2008); Diálogo Generacional [Generational Dialogue], Colombo-American Cultural Center (Cali,
2010);
(Popayán, 2010); Cauca,
[Cauca, peaceful and indomitable] (Bogotá, 2014), and

Lou Cantor
A Collective that was founded in 2011 and is interested in inter-subjectivity and interpersonal

medium, the message, and the meaning fold over each other. They have participated in collec-
tive exhibitions like: The Labor of Watching, Leto Gallery (Warsaw, 2016), OSLO10 (2016) and Basel
2015; Language and Misunderstanding, CUNY (New York, 2015); Epistemic Excess, Artists Space
(New York, 2015); the Berlin Biennial (2012) and New National Art, Museum of Modern Art (Warsaw,
2012). They live in Berlin.

Antonio Caro (Bogotá, Colombia, 1950)

Is regarded as the founder of conceptual art in Colombia, thanks to a series of works he started in
the 1970’s that commented on his environment with a sharp sense of humor. Among his one-man
shows, there are: En Medellín todo está muy Caro [Everything is very expensive/Caro in Medellín],
Medellín Museum of Modern Art (2016); Todo está muy Caro [Everything is very expensive/Caro],
Colombia Marlboro 1975-2015, Galería Casas Riegner (Bogotá,
2015). He has participated in events like Resistance Performed—Aesthetic Strategies under Repres-
sive Regimes in Latin America, Migros Museum (Zurich, 2014); Artevida [Art [and] life] Museu de Arte
Moderna (Río de Janeiro, 2014), and the 43rd National Salon of Artists (Medellín, 2013). His work

322 / 323
Carolina Caycedo (Londres, Reino Unido, 1978)
Maestra en Artes Plásticas de la Universidad de los Andes y Magíster en Artes de University of
Southern California. Actualmente investiga los efectos de la economía extractiva en los cuerpos
de agua y los cuerpos sociales en las Américas. Ha desarrollado proyectos públicamente compro-
metidos en Bogotá, La Jagua, Madrid, Lisboa, San Juan, Nueva York, San Francisco y Londres. Ha
expuesto en Creative Time, Queens Museum, New Museum, Secession, Palais de Tokyo, Fundación
Cartier; y en bienales internacionales como las de Sao Paulo (2016), Berlín (2014), La Habana (2009)
y Estambul (2001), entre otras. En 2012, Caycedo fue artista residente de la DAAD en Berlín. En 2013
recibió la beca Repensar el Espacio Público de la Fundación Príncipe Claus. Su obra se encuentra
en las Colecciones del Banco de la República de Colombia, Los Angeles County Museum (LACMA),
Universidad de Colorado y Artist Pension Trust, entre otras. Vive en Los Ángeles.

Gustavo Ciríaco (Río de Janeiro, Brasil, 1969)

creador de su presencia. Sus obras han estado en Europa, América Latina, Oriente Medio y Asia.
Recientemente se ha concentrado en su proyecto museológico Una sala de maravillas, expuesto
en Tokio y Río de Janeiro, donde reúne momentos sublimes vividos por artistas en sus procesos
creativos y carreras profesionales. Su trabajo ha sido acogido en importantes festivales, galerías
y teatros, entre otros el Tokyo Wonder Site (Tokio); San Art (Saigón); Chelsea Theatre, Battersea

(París); La Casa Encendida (Madrid); Museu Coleção Berardo, Culturgest (Lisboa); CCBB, Panorama
(Río de Janeiro); Metropolis (Copenhague); SESC (Sao Paulo); Mercat de les Flors (Barcelona) y NAVE
(Santiago). Vive en Lisboa y Río de Janeiro. www.gustavociria.co

Fredy Clavijo Cuartas (Pereira, Colombia, 1977)

Licenciado en Artes Plásticas de la Universidad Tecnológica de Pereira. En su obra indaga, a
través de instalaciones e intervenciones, los posibles medios de traducción de la experiencia,

(Pereira). Vive en Pereira.

Alberto De Michele (Venecia, Italia, 1980)

en la Rijksakademie (Amsterdam). Entre sus exposiciones individuales están El segundo viaje,

Museo Rayo (Roldanillo, 2015); Vincent, Porta Lavernalis,
Gentili Apri (Berlín, 2011). Su trabajo ha hecho parte de muestras colectivas como Spell to spe-
lling**spelling to spell, De Appel Arts Centre (Amsterdam, 2015); Glitch,
Cinema (Milán, 2014); Cinéma du réel, Centre Pompidou (París, 2013), y An Opal World, Kunstraum
(Londres, 2013). Su obra explora, a través de instalaciones, fotografías, videos y performances,
la fascinación por el inframundo de lo ilegal y las culturas marginales. Vive en Amsterdam y Cali.

-
tes de las expectativas. Ha expuesto en el Van Abbemuseum (Eindhoven, 2016); el Asia Culture
Center (Gwanju, 2014), y en el NBK (Berlín, 2014), entre otros. Sus documentales han participado
en decenas de festivales en París, San Sebastián y Estambul. Vive en Beirut y Estambul, donde
enseña en Sabanci University.
Carolina Caycedo (London, United Kingdom, 1978)
has a BFA in Arts from Los Andes University (Bogotá) and MFA from the University of Southern
California. She currently investigates the effects of the extractive economy on bodies of water
and social bodies in the Americas. She has undertaken public projects of socially engaged art in
Bogotá, La Jagua, Madrid, Lisbon, San Juan, New York, San Francisco, and London. She has exhib-
ited at Creative Time, the Queens Museum, New Museum, Secession, Palais de Tokyo (Paris) and
the Cartier Foundation; and in international biennials like São Paulo (2016), Berlin (2014), Havana
(2009) and Istanbul (2001). In 2013 she won the “Rethinking the Public Space” Fellowship from Prince
Claus Foundation (Holland). Her work is found in the collections of the Colombian Central Bank
(Banco de la República), the Los Angeles County Museum (LACMA), the University of Colorado, and
the Artist Pension Trust, among others. She lives in Los Angeles.
Gustavo Ciríaco
He works with performance and visual arts on projects based on the landscape and architecture

focused on his museological project, Una sala de maravillas [A Hall of Wonders], exhibited in Tokyo
and Rio de Janeiro, where he assembles sublime moments experienced by artists in their creative
undertakings and professional careers. His work has been shown at important festivals, galler-
ies and theaters, among them: the Tokyo Wonder Site (Tokyo); San Art (Saigon); Chelsea Theatre,

Buisson (Paris); La Casa Encendida (Madrid); Museu Coleção Berardo, Culturgest (Lisbon); CCBB,
Panorama (Rio de Janeiro); Metropolis (Copenhagen); SESC (São Paulo); Mercat de les Flors (Barce-
lona) and NAVE (Santiago). He lives in Lisbon and Rio de Janeiro. www.gustavociria.co

Fredy Clavijo Cuartas (Pereira, Colombia, 1977)

Graduated in arts from the Technological University of Pereira. Through installations and interven-

found in leisure activities which take place during outings, tourism, and travels. He forms part of
the La Cuenca artists in residence team (Pereira). He lives in Pereira.

Alberto De Michele (Venice, Italy, 1980)

Italian-Dutch artist with art studies at the Gerrit Rietveld Academie (Amsterdam), Cooper Union (New
York) and Sandberg Institut (Amsterdam) and an artist-in-residence for two years at the Rijksakad-
emie (Amsterdam). His one-man shows include El segundo viaje [The second journey], Museo Rayo
(Roldanillo, Colombia, 2015); Vincent, Porta Lavernalis, Gentili
Spell to
spelling**spelling to spell, De Appel Arts Centre (Amsterdam, 2015); Glitch,
Cinema (Milan, 2014); Cinéma du réel, Pompidou Center (Paris, 2013), and An Opal World, Kunstraum
(London, 2013). His work uses installations, photographs, videos and performances to explore his
fascination with the underworld of crime and marginal cultures. He lives in Amsterdam and Cali.

(Istanbul, Turkey, 1978)

settings, explore and negotiate “the indeterminate nature of the landscape,” the space of experi-

the Asia Culture Center (Gwanju, 2014), and the NBK (Berlin, 2014), among other. His documentaries

in Istanbul, where he teaches at the Sabanci University.

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Wilson Díaz (Pitalito, Colombia, 1963)
Estudió Artes Plásticas en la Universidad Nacional de Colombia, Bogotá. Su trabajo indaga el
complejo contexto histórico, social y político del país desde la década de los 80 por medio de

las acciones y la escritura, entre otros. Ha expuesto individualmente en la Galería Santa Fe

el Museo de Arte Moderno de Bogotá (1998) y Museo La Tertulia (Cali, 1998). Ha participado en
las bienales de Mercosur (Porto Alegre, 2011); La Habana (2009); Liverpool (2004) y Venecia (2003).

Herlyng Ferla (Cali, Colombia, 1984)

Maestro en Artes Plásticas del Instituto Departamental de Bellas Artes en Cali. Entre sus
exposiciones individuales están La voz de las cosas
Metafísica concreta, Lugar a Dudas (Cali, 2013); y Despreciadores del cuerpo, Galería Jenny Vilá
(Cali, 2011). Ha ganado las Becas Locales de Creación BLOC (Cali, 2012) y la beca de investigación

curatoriales. Vive en Cali.

Stephen Ferry (Cambridge, EE. UU., 1960)

Fotoperiodista. Desde los años 80 cubre cambios políticos y sociales, problemas medioam-
bientales y de derechos humanos en distintos países. Ha publicado en New York Times, GEO,
TIME, National Geographic
Watch. Su trabajo ha recibido reconocimientos como World Press Photo, Imagen del año
y mejor fotoperiodismo, y becas del National Geographic’s Expeditions Council, el Fondo
del Embajador para la Preservación Cultural, el Fondo para el Periodismo Investigativo, la
Fundación Alicia Patterson, el Fondo Howard Chapnick, la Knight International Press Fellowship,
the Getty Images Grants for Editorial Photography, la Open Society Foundation y el fondo
de la Magnum Foundation. Entre sus publicaciones están I am Rich Potosí: The Mountain
that Eats Men -

Óscar Figueroa (San José, Costa Rica, 1986)

Entre sus exposiciones individuales están On the Other Side of the Railroads, Museo de Arte y
Diseño Contemporáneo, MADC (San José, 2015); The Poverty of Progress, Galería Des Pacio (San
José, 2014), y Durmientes

las del Museo de Arte y Diseño Contemporáneo (San José); National Taiwan Museum of Fine
Arts (Taiwan), y Museo Iberoamericano de Arte Contemporáneo (Huelva), entre otras. En su

el valor de uso y el valor de cambio. Vive en Heredia, Costa Rica.

Andres Felipe Gallo (Santa Rosa de Cabal, Colombia, 1988)

Licenciado en Artes Visuales, en la actualidad cursa la Maestría en Estética y Creación de la
Universidad Tecnológica de Pereira. Desde 2011 exhibe su trabajo en exposiciones colectivas
Wilson Díaz (Pitalito, Colombia, 1963)

historical, social, and political context of the country since the 1980’s through artistic methods like

in projects that employ painting, drawing, video, actions, and writing, among others. He has had

Museum of Modern Art (1999); Bogotá Museum of Modern Art (1998) and La Tertulia Museum (Cali,
1998). He has also participated in the Biennials of Mercosur (Porto Alegre, 2011); Havana (2009);
Liverpool (2004) and Venice (2003). He is a founding member of Helena Producciones, an artist

Herlyng Ferla (Cali, Colombia, 1984)

Graduated in Arts from the Cali Departmental Institute of Fine Arts. Among his individual exhibi-
tions are: La voz de las cosas Metafísica
concreta [Concrete Metaphysics], Lugar a Dudas (Cali, 2013); and Despreciadores del cuerpo [Scorn-
ers of the Body], Galería Jenny Vilá (Cali, 2011). He won one of the BLOC Local Creation Fellowships

His work interweaves relations between the internal structure of objects and the transformation
they have suffered in everyday use. He forms part of the “La Nocturna” collective which explores
educational, discursive, and curatorial formats. He lives in Cali.

Stephen Ferry (Cambridge, U.S., 1960)

A photojournalist since the 1980’s, he has covered political and social changes, environmental
problems, and human rights issues in several countries. His work has appeared in the New York
Times, GEO, TIME and National Geographic, among others, and he has been a visual investigator
for Human Rights Watch. He has won awards like the World Press Photo’s “Photo of the Year” for
best photo-journalism, and fellowships from the National Geographic’s Expeditions Council, the
Ambassador’s Fund for Cultural Preservation, the Investigative Journalism Fund, the Alicia Patter-
son Foundation, the Howard Chapnick Fund, the Knight International Press Fellowship, the Getty
Images Grants for Editorial Photography, the Open Society Foundation, and the Magnum Founda-
tion Fund. Among his publications are: I am Rich Potosí: The Mountain that Eats Men (Monacelli,

miners of Potosí, and (Umbrage/Icono, 2012), the

Óscar Figueroa (San José, Costa Rica, 1986)

Among his individual exhibitions are: On the other side of the railroads, San José Museum of Art and
Contemporary Design, MADC, (2015); The Poverty of Progress, Des Pacio Gallery (San José, 2014), and
Durmientes
at events like the 9th Biennial of Visual Arts of the Isthmus of Central America (Guatemala, 2014)
and the 10th Mercosur Biennial (Porto Alegre, 2015). His work forms part of collections at the San
José Museum of Art and Contemporary Design; the Taiwan National Museum of Fine Arts (Taiwan),
and the Ibero-American Museum of Contemporary Art (Huelva, Spain), among others. Figueroa’s
work creates images, actions and processes that employ a superposition of hybrid materials to

use value and exchange value. He lives in Heredia, Costa Rica.

Andres Felipe Gallo (Santa Rosa de Cabal, Colombia, 1988)

Has a degree in Visual Arts and is currently studying an MFA in Aesthetics and Creation at the
Technological University of Pereira. Since 2011 he has shown his work in individual and collective
exhibitions, like Cerca de la posibilidad [Near the Possibility], Carlos Drews Castro Hall (Pereira,
2015); Del rostro al rastro [From the Face to the Trace], Galería Maga (Pereira, 2014), and

326 / 327
 Cerca de la posibilidad, Sala Carlos Drews Castro
(Pereira, 2015); Del rostro al rastro, Galería Maga (Pereira, 2014), y
Francesa de Pereira (2013). Fue ganador de la convocatoria Pasantías Nacionales del Ministerio
de Cultura (2016) y del primer premio del Salón Traslude de Arte Contemporáneo (2015). En su
trabajo se interesa por considerar la fragmentación, el residuo y la ruina a través de procesos

Ethel Gilmour (Cleveland, EE. UU., 1940 – Medellín, Colombia, 2008)

Tras un pregrado en Humanidades en Atlanta y una maestría en Pintura del Pratt Institute (Nueva

resulta a menudo asediada por la violencia y el descontrol. Entre sus reconocimientos está haber
sido presentada, en el marco del XI Salón Regional de Artistas (2005), como “maestra del arte
Flores para Ethel Gilmour (1940-2008): homenaje, Museo
de Arte Moderno de Medellín (2010).

Beatriz González (Bucaramanga, Colombia, 1938)

la Universidad Nacional de Colombia (1956-1958) y en la Escuela de Bellas Artes de la Universidad

de los Andes se graduó como Maestra en Bellas Artes (1959-1962). Entre sus reconocimientos está

-
ciones colectivas nacionales e internacionales desde 1964. Además de su labor artística, es una
destacada historiadora del arte colombiano, entre sus libros están Manual de arte del siglo XIX
en Colombia (2013), La caricatura en Colombia a partir de la Independencia (2010) y José María
Espinosa abanderado del arte en el siglo XIX (1998). Vive en Bogotá.

Matilde Guerrero (Bogotá, Colombia, 1982)

-
da. Sus lenguajes plásticos giran alrededor del dibujo, la pintura, el video, el performance, la
intervención e instalación. Busca desarrollar colectivamente procesos simbólicos a través de
un interés conceptual por la informalidad. Ha merecido diferentes distinciones como la Beca
de Residencias Artísticas Nacionales (2015), la Beca para Proyectos de Circulación de las Artes
Plásticas y/o Visuales (2013) de Idartes y la Beca para circulación en espacios independientes,
Ministerio de Cultura (2012). Entre sus exposiciones individuales están Tierras prometidas,
Parafernalia, Laagencia (Bogotá, 2013), Filtración,
Salomé Mata-tigres, El Parche Artist Residency
(Bogotá, 2013). Vive en Bogotá.

Juliana Góngora Rojas (Bogotá, Colombia, 1988)

Artista con pregrado y maestría en Artes Plásticas en la Universidad Nacional de Colombia
(Bogotá). En su obra indaga sobre las aplicaciones escultóricas de técnicas tradicionales de

Sal Vigua, Cámara de Comercio de Bogotá (2015); Salón de Arte Joven, FUGA (Bogotá, 2015), y
Nuevos Nombres Labor,
en FLORA ars+natura (Bogotá, 2016) y participó en Long Live the Old Flesh, open call Nogueras
Blanchard (Barcelona y Madrid). Ganó la Beca de creación para artistas emergentes, Ministerio de
Cultura (2015). Ha sido artista residente en Mildred’s Lane (Nueva York, 2016); Lugar a Dudas (Cali,
2014-2015); FLORA ars+natura (2015), y fue invitada al Mac Val Musée (París, 2017). Vive en Bogotá.
al borde

His work delves into ideas of fragmentation, waste, and ruin through the gathering, recycling and
reshaping of materials, objects and images. He lives in Pereira.

Ethel Gilmour (Cleveland, EE. UU., 1940 – Medellín, Colombia, 2008)

Obtained a B.A. in Humanities in Atlanta and a MFA in Painting from the Pratt Institute (New York).
She moved to Medellín in 1971, where she formed part of the local art scene and taught at National

Artists (2005) and was the subject of a posthumous retrospective Flores para Ethel Gilmour (1940-
2008) [Flowers for Ethel Gilmour], at the Medellín Museum of Modern Art (2010)

Beatriz González (Bucaramanga, Colombia, 1938)

drawings, all of which comment on the life of the country with a subtle and piercing sense of humor.
She studied Architecture at the National University of Colombia (1956-1958) and Arts at Los Andes
University, Bogotá (1959-1962). Among her awards, she received an Honorary Master’s Degree in

for Lifetime Achievement (2006). Her works have been shown in Colombian and international
exhibitions since 1964.
In addition to her work as an artist, she is an outstanding investigator of the history of Colom-
bian art and has published such books as: Manual de arte del siglo XIX en Colombia [Manual of
Colombian 19th century art] (2013), La caricatura en Colombia a partir de la Independencia [Politi-
cal caricature in Colombia from the time of the Independence] (2010) and José María Espinosa,
abanderado del arte en el siglo XIX [José María Espinosa, standard bearer of art in the 19th century]
(1998). She lives in Bogotá.

Matilde Guerrero (Bogotá, Colombia, 1982)

revolve around drawing, painting, video, performance, intervention, and installations. She seeks
to collectively develop symbolic processes through a conceptual interest in informality. She has
won awards like the Fellowship for National Artistic Residencies (2015), the Bogotá District Institute
of Arts (Idartes) Fellowship for the Circulation of Fine and/or Visual Arts Projects (2013) and the
Ministry of Culture’s Fellowship for Circulation of Independent Venues (2012). Among her individual
exhibitions are: Tierras prometidas
Parafernalia [Paraphernalia], Laagencia (Bogotá, 2013), Filtración
University (Bogotá, 2011) and Salomé Mata-tigres [Salomé the tiger-killer], El Parche Artist Resi-
dency (Bogotá, 2013). She lives in Bogotá.

Juliana Góngora Rojas (Bogotá, Colombia, 1988)

Graduated with a BFA and MFA from the National University of Colombia (Bogotá). Her work

and adobe walls. He has participated in collective exhibitions like Sal Vigua [Timber Salt], Bogotá
Chamber of Commerce (2015); the FUGA Salon of Young Artists (Bogotá, 2015); and Nuevos Nombres
[New Names], Central Bank of Colombia (2013). He held an individual exhibition, entitled Labor, in
FLORA ars+natura (Bogotá, 2016) and participated in Long Live the Old Flesh, open call Nogueras
Blanchard (Barcelona and Madrid). She won a Fellowship for emerging artists, Ministry of Culture
(2015). She has been an artist in residence at Mildred’s Lane (New York, 2016); Lugar a Dudas (Cali,
2014-2015); and FLORA ars+natura (2015), and she is scheduled to have a fellowship at the Mac Val
Museum (Paris, 2017). She lives in Bogotá.

328 / 329
 Nicolás Guillén Landrián (Camagüey, Cuba, 1938 –Miami, EE. UU., 2003)

estatal cubana —ICAIC— entre 1962 y 1972, cuando fue expulsado por “conducta antisocial y

evitando la euforia revolucionaria de la época, y recibiendo críticas por hacer documentales

“incoherentes con el contexto cubano”. Entre sus películas están En un barrio viejo (1963), Ociel
del Toa (1965), Coffea Arábiga (1968) y Taller de Línea y 18
por cuestionar la efectividad de las asambleas sindicales. Tras pasar por un proceso de reedu-

Álvaro Herazo

Londres. Fue crítico, escritor y director de la Escuela de Bellas Artes de la Universidad del

utópicas con mapas transformados y geograf ías fantasiosas.

Leonardo Herrera Madrid (Cali, Colombia, 1977)

Estudió Arte en el IDBA de Cali y ha presentado su trabajo en distintos escenarios a nivel nacional
e internacional, entre ellos la Pinacoteca de la Universidad de Concepción (Chile), el Centro de
la Fotografía (Ginebra), el SFMOMA (San Francisco) y el Centro de Expresiones Contemporáneas
(Rosario). Sus proyectos de investigación parten de dos intereses: primero, el fenómeno narco y
sus implicaciones socioculturales, señalando ciertas crisis culturales con relación al territorio;

Actualmente es docente en la Universidad del Valle y del Instituto Departamental de Bellas

Cali. Vive en Cali.

Juan Fernando Herrán (Bogotá, Colombia, 1963)

Graduado en Artes Plásticas en la Universidad de los Andes, con una maestría en Escultura del
Chelsea College of Art (Londres). Ha sido invitado a bienales como las de Venecia, Estambul,
Liverpool, São Paulo, La Habana y Johannesburgo. Entre sus exposiciones individuales están
Flujos deseantes, Museo de la Universidad Nacional (Bogotá, 2016); Espina dorsal, NC-arte
(Bogotá, 2011); Escalas, Galería Magda Bellotti (Madrid, 2009), y Sin título, Metales Pesados

instalación para examinar hechos sociales y políticos o procesos culturales relacionados con

de la Universidad de los Andes.

María Teresa Hincapié (Armenia, 1954 – Bogotá, 2008)

Considerada una de las pioneras del performance en Colombia. Inicialmente vinculada al teatro,

(Parquedades, escenas del parque para una actriz, video y música, 1987). Su obra se plantea

se destacan Vitrina, mención de honor, II Bienal de Arte en el Museo de Arte Moderno de Bogotá
(1989); Una cosa es una cosa, primer premio en el XXXIII Salón Nacional de Artistas (1990), incluida
en exposiciones como Stanze e Segreti (Milán) y Versiones del Sur, Estética del Sueño, Museo
Nacional Centro de Arte Reina Sofía (Madrid); Divina proporción, primer premio, XXXVI Salón
Nicolás Guillén Landrián (Camagüey, Cuba, 1938 –Miami, USA, 2003)
Filmmaker and painter, nephew of the poet Nicolás Guillén. He worked in the state-owned cinema
company —ICAIC— between 1962 and 1972, when he was expelled for “antisocial conduct and dis-
sident manifestations.” In his work, he privileged experimental and personal aspects and avoided

En un barrio viejo [In an Old Neighborhood] (1963), Ociel del

Toa (1965), Coffee Arábiga (1968) and Taller de Línea y 18 [Workshop of Line and 18] (1971), which

of reeducation, which included stays in mental clinics and electroshock treatments, he went into
exile in Miami in 1989.

Álvaro Herazo

Printing in London. He was a writer and critic and directed the School of Fine Arts at the University

utopian cartographies with transformed maps, and fantastic geographies.

Leonardo Herrera Madrid (Cali, Colombia, 1977)

Studied art at the Cali Departmental Institute of Fine Arts and has shown his work in Colombia and
abroad, in spaces like the Gallery of the University of Concepción (Chile), the Geneva Photography
Center, the San Francisco Museum of Modern Art, and the Center for Contemporary Expressions
(Rosario, Argentina). His investigative projects are based on two interests: the phenomenon of
-

teaches at Valle University and the Department Institute of Fine Arts. He was a co-founder of

Juan Fernando Herrán (Bogotá, Colombia, 1963)

Studied Visual Arts at Los Andes University (Bogotá) and has a MFA in Sculpture from the Chelsea
College of Art (London). He has participated in the Biennials of Venice, Istanbul, Liverpool, São
Paulo, Havana and Johannesburg. Among his individual exhibitions are: Flujos deseantes [Desiring
Flows], Museum of National University (Bogotá, 2016); Espina dorsal [Backbone], NC-arte (Bogotá,
2011); Escalas [Scales], Magda Bellotti Gakllery (Madrid, 2009), and Sin título [Untitled], Metales
Pesados (Santiago de Chile, 2009). Herrán’s work uses different media such as photography,
sculpture, and installations to examine social and political occurrences or cultural phenomena

Professor at Los Andes University.

María Teresa Hincapié (Armenia, 1954 – Bogotá, 2008)

Regarded as one of the pioneers of performance art in Colombia, she was originally linked to

Alejandro Restrepo (Parquedades, escenas del parque para una actriz [Frugalities/Park things,
scenes from the park for an actress, video and music], (1987). Her work is based on the use of the

Vitrina [Showcase], Honorable Mention, 2nd Biennial of Art at the Bogotá Museum of Modern Art
(1989); Una cosa es una cosa -
ists (1990), included in exhibitions like Stanze e Segreti (Milan) and Versiones del Sur, Estética del

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Nacional de Artistas (1996), y El espacio se mueve despacio, 51 Bienal de Venecia (2005). Tras su

Catalina Jaramillo (Medellín, Colombia, 1981)

Estudió Artes Plásticas en la Universidad Nacional de Colombia. Su obra gira en torno a la
-
vidualmente en la Galería Jenny Vilà (2014), Espacio Odeón (2014) y Galería Sextante (2012 y
2010). Colectivamente ha mostrado su trabajo en espacios como Matadero (Madrid), Casa de
América (Madrid), Banco de la República (Bogotá), Harris Gallery (California) y Galería Senda
(Barcelona). Entre sus distinciones están el primer premio en el Salón Cano (2007); el segundo
lugar en el Concurso Arte Joven, Embajada de España-Colsanitas (2014); Residencia El Ranchito,
Matadero (Madrid, 2015) y la Beca Escuela Flora (Bogotá, 2016). Su trabajo hace parte de la
exposición permanente del Banco de la República. Vive en Bogotá.

Edwin Jimeno (Santa Marta, Colombia, 1974)

Artista plástico, curador, docente e investigador; desde 1997 se desempeña como artista
del cuerpo a nivel nacional, con reconocimientos como el segundo premio en el 38 Salón
Nacional de Artistas (2001), primer premio en la Bienal del Fuego (2002) y selección en
el Proyecto Pentágono “Actos de fabulación”, Ministerio de Cultura de Colombia (2000).
Ha sido coordinador del laboratorio Cortá con tijera de palo (Santo Tomás, Atlántico, 2010)
y de Alapar15, convenio entre el Ministerio de Cultura y Entre las artes. Dirigió el colectivo
Capirote, ganador de la Beca para desarrollar el laboratorio Cuerpo y Territorio (Santo Tomás,

de Artistas (2011). Actualmente participa en el proyecto Obra viva del Banco de la República.
En su trabajo, parte de la experiencia del cuerpo para indagar las resonancias personales de
traumas colectivos. Vive en Santo Tomás.

Amadou Keita (Bamako, Mali, 1967)

obra trata temas diversos como lo cotidiano, la tradición y la diversidad cultural. Gracias a
diversos encuentros profesionales se encaminó hacia la fotografía como expresión artística

participado en exposiciones como Les rencontres photographiques de Bamako (2009 – 2011);

Bamako in Paris, Pavillon Carré de Baudoin (París, 2013), y el Festival Photo d’Addis-Abeba (2014).
Ganó el premio Humanity Photo Award (2013). Vive en Bamako, Mali.

La Decanatura
Colectivo conformado en 2012 por los artistas Elkin Calderón Guevara (Bogotá 1975) y Diego

distinciones, han recibido la Beca para Propuestas de Circulación de las Artes Plásticas y/o
Visuales, Idartes (2013). Su proyecto Centro Espacial Satelital de Colombia fue seleccionado
para participar en la curaduría Museo Efímero del Olvido, XV Salones Regionales de Artistas,
Ministerio de Cultura (Bogotá, 2015).

LaMutante
Plataforma conformada por Nicolás Cadavid (Bucaramanga, Colombia, 1979), Efraín Marino

incluyen residencias artísticas, exhibiciones, publicaciones virtuales, conferencias, talleres,

festivales y subastas de arte. Sin contar con un espacio físico donde desarrollar sus actividades,
LaMutante se instala en centros culturales y espacios públicos para desarrollar sus propuestas
Sueño Divina
proporción El espacio se
mueve despacio [Space moves slowly], 51st Biennial of Venice (2005). After her death, the Patricia

Catalina Jaramillo (Medellín, Colombia, 1981)

BFA in Arts from National University of Colombia. Her work revolves around contemplation, with

Jenny Vilá (2014), Espacio Odeón (2014) and Galería Sextante (2012 and 2010) and participated in
collective exhibitions in venues like the Matadero (Madrid), Casa de América (Madrid), Central Bank
of Colombia (Bogotá), Harris Gallery (California) and the Galería Senda (Barcelona). She won First

Spanish Embassy-Colsanitas (2014); she was chosen as artist in residence at El Ranchito, Matadero
(Madrid, 2015); and the Escuela Flora Fellowship (Bogotá, 2016). Her works are in the permanent
collections of the Colombian Central Bank (Bogotá). She lives in Bogotá.

Edwin Jimeno (Santa Marta, Colombia, 1974)

Visual artist, curator, teacher, and researcher, he has focused on performance art since 1997,

Bienal del Fuego [Biennial of Fire] (2002) and included in the Pentagon Project “Acts of Invention”,
Colombian Ministry of Culture (2000). He has been the coordinator of the Corta con tijeras de palo
[Cut with wooden scissors] laboratory (Santo Tomás, Atlántico, Colombia) and Alapar 15, an agree-
ment between the Ministry of Culture and the “Entre las artes” collective. He was the director of the

Tomás, 2010-2013) and part of the curatorial team for the Atarraya project, 14th Regional Salon
of Artists (2011). He currently participates in the Obra viva [Live work] project of the Colombian

of collective traumas. He lives in Santo Tomás.

Amadou Keita (Bamako, Mali, 1967)

Became interested in photography at an early age and has been devoted to it since 1986. His
work deals with a variety of subjects related to daily life, tradition and cultural diversity. Thanks
to a number of professional encounters, he turned his attention to photography as a medium for

participated in exhibitions like Les rencontres photographiques de Bamako (2009 – 2011); Bamako
in Paris, Pavillon Carré de Baudoin (Paris, 2013), and the Addis-Abeba Photo Festival (2014). He won
the Humanity Photo Award (2013). He lives in Bamako, Mali.

La Decanatura
A collective formed in 2012 by Elkin Calderón Guevara (Bogotá, 1975) and Diego Piñeros García
(Bogotá, 1981) which seeks new approaches to art based on historical events using “alien” disci-
plines like music or sports. Among their awards, they have received a Fellowship for the circulation
of visual arts, Bogotá District Institute of Art (Idartes), 2013. Their project, Centro Espacio Satelital
de Colombia [Colombian Satellite Space Center] was chosen in the Ephemeral Museum of Oblivion,
a curatorship of the 15th Regional Salons, Ministry of Culture (Bogotá, 2015).

LaMutante
A platform that comprises Nicolás Cadavid (Bucaramanga, Colombia, 1979), Efraín Marino (Bucara-

-
tions, virtual publications, conferences, workshops, festivals and art auctions. As it lacks a venue
for its activities, LaMutante carries its proposals in cultural centers and public spaces. After nearly

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ARCOmadrid (2015); ArtBo (Bogotá, 2013); A Beautiful City is a Nice Place for Art,
(Bogotá, 2012), y Apuntes al margen, Encuentro Internacional de Arte de Medellín, MDE11 (2011).
Viven en Bucaramanga.www.galerialamutante.org

Paulo Licona (Tunja, Colombia, 1977)

de su trabajo. Tras varios intentos fallidos por entrar a la Universidad Nacional, ingresa, gracias

diferentes cafetines, paralelo a actividades como ayudante de mago, mesero, barman y guía de
las colecciones del Banco de la República. Desde el año 2000 expone con regularidad, primero
junto a su socio Camilo Turbay, con el colectivo TODOPIPAS. En paralelo expone individualmente
dentro y fuera del país. Sus proyectos se centran en problemas de educación, guerritas locales

Fabio Melecio Palacios (Barbacoas, Colombia, 1975)

Maestro en Artes Plásticas del Instituto Departamental de Bellas Artes de Cali. Entre sus expo-
siciones individuales está Enseñando a comer sancocho de pescado hecho con coco, Vitrina de

Luis Caballero (2011). Sus trabajos sugieren un cuestionamiento crítico y político a partir de
lo cotidiano, haciendo énfasis en ciertas prácticas laborales relacionadas con lo contractual,
la construcción de país, el territorio, la interculturalidad y el paisaje urbano. Vive en Palmira.

Colectivo Maski

investigación documental y de campo, particularmente de problemáticas relacionadas con la

procesos económicos e ideologías progresistas. Maski ha propuesto la revisión de salas de cine

como herramienta para examinar las contingencias del presente. Su trabajo ha sido exhibido,
entre otros, en Unidad Compleja Interpuesta, Bogotá:
belleza y horror, Mambo (Bogotá, 2015); Movimiento armónico simple (individual), Espacio Odeón
(Bogotá, 2015), y La desilusión de la certeza o la ilusión de la incertidumbre, Artecámara/ArtBo
(Bogotá, 2013). Viven en Bogotá.

Ana María Millán (Cali, Colombia, 1975)

espacios narrativos donde se transmite la información de subculturas e ideas de violencia.

Hablando desde la cultura pop y amateur, incorpora las posibilidades y errores propios del
ensayo, así como formas narrativas consideradas disfuncionales. Entre sus exposiciones están
Frío en Colombia (individual) Premio Luis Caballero, Archivo de Bogotá (2015); Nido o átomo. He
ten years of activities, LaMutante Gallery has become a reference point for projects that, while

broaden the communication between artists and the public. They have undertaken interventions
in ArteBa (2015); ARCOmadrid (2015); ArtBo (Bogotá, 2013); A Beautiful City is a Nice Place for Art,
Apuntes al margen [Notes Written in the Margins], Medellín
International Encounter of Art, MDE11 (2011). They live in Bucaramanga. www.galerialamutante.org

Paulo Licona (Tunja, Colombia, 1977)

The son of teachers, he encountered the notion of punishment at school, which has largely inspired
his work ever since. After several unsuccessful attempts to enter National University de Colombia,

student loan, where he was a happy middle-class undergraduate but rebellious at times. Before
graduating, he exhibited his work at several different small cafes, and also worked as a magician’s
assistant, waiter, bartender, and guide to the art collections of the Colombian Central Bank. He
has held regular exhibitions since 2000, along with Camilo Turbay, his partner at the TODOPIPAS
collective. Meanwhile, he has had individual exhibitions in Colombia and abroad. His projects

in 2000, and currently spends more time cooking, decorating piñatas, and pursuing the occasional
very sane idea. He lives in Bogotá.

Fabio Melecio Palacios (Barbacoas, Colombia, 1975)

Graduated in Visual Arts from the Cali Departmental Institute of Fine Arts. Among his individual
exhibitions are Enseñando a comer sancocho de pescado hecho con coco [Teaching How to Eat Fish
Stew Made With Coconut], Vitrina de Lugar a Dudas (Cali, 2014). He has received various awards,

construction of the country, inter-culturalism and the urban landscape. He lives and works in
Palmira, Colombia.

Colectivo Maski

platform for collective creation, undertaking projects nourished by documentary investigation

years, it has focused on architectural phenomena that illustrate how the city has been shaped
by economic factors and progressive ideologies. Maski has called for a reassessment of aban-
doned movie theaters, housing projects and commemorative sites, activating memory as a tool to
examine the contingencies of the present. Its work has been shown at Unidad Compleja Interpu-
esta Bogotá: belleza y horror (Bogotá:
Beauty and Horror), Bogotá Museum of Modern Art (Mambo) (2015); Movimiento armónico simple
[Simple Harmonic Movement] (individual), Espacio Odeón [Bogotá, 2015], and La desilusión de la
certeza o la ilusión de la incertidumbre [The Disillusion of Certainty or the Illusion of Uncertainty],
Artecámara/ArtBo (Bogotá, 2013). Its members live in Bogotá.

Ana María Millán (Cali, Colombia, 1975)

In her work, she uses a personal, skeptical and at times humorous voice to penetrate narrative
spaces where information about subcultures and ideas of violence are transmitted. Speaking
with the language of pop and “amateur” culture, she incorporates the characteristic possibilities
and mistakes of the experiment as well as narrative forms regarded as dysfunctional. Among her
exhibitions there are: Frío en Colombia

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aquí la estrella, Die Ecke Arte Contemporáneo (Santiago de Chile, 2015); Hielo Negro (individual),
Mutis Mutare, El Matadero (Madrid, 2015); Video Sector,
Miami Art Basel (2014); Ir para Volver, 12 Bienal de Cuenca (2014); Six Lines of Flight: Shifting
Geographies in Contemporary Art (con Helena Producciones), SFMOMA (San Francisco, 2012);
AUTO-KINO! presented by Phil Collins, Temporäre Kunsthalle (Berlín, 2009); I Still Believe in
Miracles – part I, Musée d’Art Moderne de la Ville de Paris (2005).

Miraje
El proyecto Miraje
María Clara Arias Sierra (Bogotá, Colombia, 1987) y Lucille De Witte (Versailles, France, 1989)
como un intento de observar, documentar y difundir la historia de Marte, un terreno desértico

55.000 árboles plantados han ido muriendo progresivamente a causa de una especie de mus-

inmaterial y tecnologías primitivas. A partir de este espacio, el colectivo ha desarrollado pro-

yectos como la Residencia de tecnología primitiva en Marte (Sutamerchán, 2013); la exposición
50m / 50ha en El Parche (Bogotá, 2013); la excursión Noticias de Marte (Sutamerchán, 2015); e
, incluida en la curaduría Escuela de Garaje de los XV Salones Regionales, Zona

Óscar Moreno Escárraga (Bogotá, Colombia, 1973)

Maestro en Artes Plásticas y magíster en Estudios Culturales de la Universidad Nacional de
Colombia, candidato a doctor en Estudios Sociales de la Universidad Externado de Colombia.
Sus propuestas indagan por el valor del cuerpo poético y la construcción del tejido social,

sentido desde lo particular y lo local. Desde 2006 es profesor asociado del Programa de Artes

Sociales, desde donde se generan redes de interacción entre diversos agentes e instituciones
culturales. Vive en Bogotá.

Rabih Mroué (Beirut, Líbano, 1967)

Actor, director, dramaturgo, artista visual y editor adjunto de The Drama Review (TDR) y la publica-
ción trimestral Kalamon. Es cofundador y miembro del consejo del Centro de Arte de Beirut (BAC).

explora la responsabilidad de los artistas para comunicarse con una audiencia de un contexto

su país, relacionados con la guerra civil en Líbano y eventos recientes como la Primavera árabe
y la Revolución siria. Vive en Beirut.

Ricardo Muñoz Izquierdo (Pereira, Colombia, 1985)

Estudió Artes visuales en la UTP. Entre sus exposiciones individuales están Aburridos dibujos,
Sketch (Bogotá, 2015); Pink Punk and Bad Painting, Museo de Arte de Pereira (2014) y Libretas
de Dibujo

partir de la literatura, su imaginario personal y los mundos de la psicodelia, el punk, la por-

nograf ía y las subculturas, construye universos simbólicos en medios como la fotograf ía, el

para encontrar yuxtaposiciones absurdas y sórdidas de íconos del arte con signos triviales
of Bogotá (2015); Nido o átomo. He aquí la estrella [Nest or Atom. Here’s the Star], Die Ecke Arte
Contemporáneo (Santiago de Chile, 2015); Hielo Negro
(Cali, 2015); Mutis Mutare, El Matadero (Madrid, 2015); Video Sector, Miami Art Basel (2014); Ir para
volver [To Go in Order to Return], 12th Cuenca Biennial (2014); Six Lines of Flight: Shifting Geogra-
phies in Contemporary Art (with Helena Producciones), SFMOMA (San Francisco, 2012); AUTO-KINO!
presented by Phil Collins, Temporäre Kunsthalle (Berlin, 2009); and I Still Believe in Miracles – part
I, Musée d’Art Moderne de la Ville, Paris (2005).

Miraje Collective
The Miraje
María Clara Arias Sierra (Bogotá, Colombia, 1987) and Lucille De Witte (Versailles, France, 1989) as
an attempt to observe, document and disseminate the story of Marte [Mars], a deserted terrain in
Sutamarchán, Boyacá, Colombia, which Hernando Arias began to turn into a forest in 1975. Today,
the 55,000 trees he planted have gradually been dying due to a type of moss. This spectral forest

itself on that area, the collective has developed projects like the Residency of primitive technol-
ogy on Mars (Sutamerchán, 2013); the 50m/ 50ha [50 meters/50 hectares] exhibition in El Parche
(Bogotá, 2013); the Noticias de Marte [News from Mars] excursion (Sutamerchán, 2015); and Islas
Flotantes [Floating islands], included in the Escuela de Garaje curatorship of the 15th Regional
Salons, Central Zone (Bogotá, 2015).

Óscar Moreno Escárraga (Bogotá, Colombia, 1973)

Has a BFA in Visual Arts and a MA in Cultural Studies from the National University of Colombia,
and is studying for a PhD in Social Studies at the Externado University of Colombia (Bogotá). His

beyond disciplinary frontiers. He is interested in educational methods that encourage the act of

emergence of meanings from individual and local contexts. Since 2007 he has been an Associate

the coordinator of the Observatory of Social Poetics, which creates networks of interaction among
diverse cultural agents and institutions. He lives in Bogotá.

Rabih Mroué (Beirut, Lebanon, 1967)

Actor, director, playwright, visual and associate editor of The Drama Review (TDR) and the tri-
monthly publication Kalomon. He is a co-founder and member of the council of the Beirut Art
Center (BAC). His work, complex and diverse, spans different disciplines and formats like theater,

and in-depth analysis as tools to understand his immediate reality, and explores the responsibil-

deals with subjects ignored by the current political climate of his country, related to the civil war
in Lebanon and recent events like the Arab Spring and the Syrian Revolution. He lives in Beirut.

Ricardo Muñoz Izquierdo (Pereira, Colombia, 1985)

Studied Visuals Arts at the Technological University of Pereira. Among his individual exhibitions are:
Aburridos dibujos [Boring drawings] Sketch (Bogotá, 2015); Pink Punk and Bad Painting, Pereira Art
Museum (2014); and Libretas de Dibujo [Drawing Notebooks], Fine Arts Gallery, Atlántico University

humor, cynicism and allegorical deformation. Inspired by literature, his personal imaginary and
the worlds of psychedelics, punk, pornography and subcultures, he constructs symbolic worlds
-
ences to generate absurd and sordid juxtapositions between the icons of art and the trivial signs

336 / 337
de la cultura popular y underground, acentuando las tensiones dialécticas entre lo público y
lo privado, lo culto y lo marginal. Vive en Pereira.

Román Navas Henry Palacio

Artistas visuales, Universidad Distrital de Bogotá (ASAB). Entre sus exposiciones individuales están
Flujos y Basuras,
(Bogotá, 2013), y Desarrollo Involutivo, Museo de Arte Moderno de Medellín (2015). Ganadores
de la residencia CRAC Valparaíso Chile, de Idartes (2014) y de la Beca de Creación para artistas
emergentes del Ministerio de Cultura (2015). Su trabajo hace parte de la colección de la Fundación

entre proceso y objeto artístico. Viven y trabajan en Bogotá.

Warren Neidich

recibido premios como el Vilém Flusser Theory Award, Transmediale (Berlín, 2010); beca Fulbright
(2011 y 2013) y la AHRB/ACE Arts and Science Research Fellowship (Reino Unido, 2004). Entre sus
exposiciones individuales están Sacred Spaces of the Incorrigible Anarchy of Time, Barbara Seiler
Gallery (Zúrich, 2016); Equal not Equal, LAXART (Los Ángeles, 2015);The Noologist’s Handbook, P74
The
Psychopathologies of Cognitive Capitalism Part 3 (Archive Press) y (Merve
Verlag) se editarán este año. Vive en Los Ángeles y Berlín.

Juan Obando (Bogotá, Colombia, 1980)

Master of Fine Arts en Studio Art de Purdue University (2010). Entre sus exposiciones recientes
se cuentan Museum Mixtape, Reverse Art Space (Brooklyn, 2016); Selections, Bakalar and Paine
Galleries, (Boston, 2016); The Champions
Default Browser A Bird Without a
Song (Keep Playing), Espacio ArtVersus (Bogotá, 2014). Su trabajo se centra en la intervención de
-

señalar críticamente debilidades, ironías y contradicciones. Vive en Boston y Bogotá.

Roberto Ochoa (Cartagena, Colombia, 1982) Tatyana Zambrano (Medellín, Colombia, 1982)
Unidos por su interés en el videoarte, colaboran desde 2011. El trabajo en conjunto les
permite discutir preocupaciones comunes y verlas transformarse con los conocimientos,
experiencias y el trabajo del otro. Zambrano es publicista y artista plástica de la Universidad

la maestría de la UNAM en Artes Visuales. Su obra ha sido reconocida en Les Rencontres

fotograf ía como medios para investigar tensiones y contradicciones políticas y ambientales

en la contemporaneidad. Viven en México D.F.

Mario Opazo (Tomé, Chile, 1969)

(2007), la X Bienal de La Habana (2009), la II Bienal del Mercosur (Porto Alegre, 1999) y en varias

Arts (París) y el Museo Nacional Reina Sofía (Madrid). Entre sus distinciones recibió el primer
premio en el 36 Salón Nacional de Artistas en Colombia (1996), el Premio Luis Caballero (2010) y el
of popular and underground culture, heightening the dialectical tensions between the public and
the private, and the high-brow and the marginal. He lives in Pereira.

Román Navas (Bogotá, Colombia, 1985) and Henry Palacio (Bogotá, Colombia, 1987)
Are visual artists from the District University of Bogotá (ASAB). Among their individual exhibi-
tions are: Flujos y Basuras
Museum of Contemporary Art, (Bogotá, 2013), and Desarrollo Involutivo [Reactionary Development],
Medellín Museum of Modern Art (2015). They were awarded the CRAC residency, Valparaíso, Chile,
by the Bogotá District Institute of Art (Idartes) (2014) and the Ministry of Culture’s Fellowship for

Avendaño Foundation (Bogotá). It deals with values that have to do with urban life, traveling and
the relation between the artistic process and its object. They live in Bogotá.

Warren Neidich (New York, U.S., 1958)

Founder of the Saas Fee Summer Institute of Art and post-conceptual artist, his interests include
photography, video, cognitive neuroscience, medicine and architecture. He has received awards
like the Vilém Flusser Theory Award, Transmediale (Berlin, 2010); a Fulbright Fellowship (2011 and
2013) and the AHRB/ACE Arts and Science Research Fellowship (United Kingdom, 2004). Among
his individual exhibitions are: Sacred Spaces of the Incorrigible Anarchy of Time, Barbara Seiler
Gallery (Zurich, 2016); Equal not Equal, LAXART (Los Angeles, 2015); The Noologist’s Handbook, Gal-
lery (Ljubljana, 2012), and Horizon Swell, Fons Welters Gallery (Amsterdam, 2011). His books The
Psychopathologies of Cognitive Capitalism Part 3 (Archive Press) and Resistance is Fertile (Merve
Verlag) will be published this year. He lives in Los Angeles and Berlin.

Juan Obando (Bogotá, Colombia, 1980)

Industrial designer from Los Andes University with a MFA in Studio Art from Purdue University
(2010). Among his recent exhibitions are Museum Mixtape, Reverse Art Space (Brooklyn, 2016);
Selections, Bakalar and Paine Galleries, (Boston, 2016); The Champions
Bank of Colombia (Bogotá, 2015); Default Browser
2015), and A Bird Without a Song (Keep Playing), Espacio ArtVersus (Bogotá, 2014). His work centers
on interventions in social systems that orchestrate temporal situations aimed at the creation of
video-performances, participatory networks and experimental publications which use humor to
critically point out weaknesses, ironies and contradictions. He lives in Boston and Bogotá.

Roberto Ochoa (Cartagena, Colombia, 1982) and Tatyana Zambrano (Medellín, Colombia, 1982)
United by their interest in video art, have worked together since 2011. Their joint work enables them
to deal with common concerns and see them transformed into a body of knowledge and experi-

She currently forms part of the SOMA educational program (Mexico City) and is studying for a
Masters in Visual Arts at the Autonomous University of Mexico (UNAM). Her work has won awards
at the New Cinema and Contemporary Art section of Les Rencontres Internationales in Berlin,

is an environmental engineer and is currently studying for a Masters in Visual Arts at the UNAM,

tensions and contradictions of contemporary life. They live in Mexico City.

Mario Opazo (Tomé, Chile, 1969)

Is a visual artist and audiovisual producer who has participated in events like the 52nd Venice
Biennial (2007), the 10th Havana Biennial (2009), the 2nd Mercosur Biennial (Porto Alegre, 1999) and
several editions of the Rencontres Internationales held at the Pompidou Center and the Musée

338 / 339
primer premio en el Salón de Arte Joven. En 2012 fue invitado especial a la Bienal de la Imagen en
-
pectiva de su obra en video. Es profesor de la Universidad Nacional de Colombia. Vive en Bogotá.

Grupo Otún

(Pereira, Colombia, 1953) y Mauricio Rivera Henao (Pereira, Colombia, 1980) para generar
experiencias estéticas en contextos fuera de la institución – museo y/o sala de exhibición—

-
cen a diferentes generaciones y formaciones académicas y aportan, cada uno a partir de sus
-

Prabhakar Pachpute (Sasti, Chandrapur, India, 1986)

Uno de los artistas indios más prominentes de su generación. Tras estudios de escultura, forma
el colectivo artístico Shunya dentro de Clark House Initiative. Ha expuesto en instituciones como
el Van Abbemuseum (Eindhoven, 2013), Kadist Art Foundation (París, 2013), IFA (Stuttgart y Berlín,
2013), MACBA (Barcelona, 2015), y en bienales como la de Sao Paulo (2014), Estambul (2015), y

carboncillo directamente sobre paredes, a menudo combinándolos con esculturas, efectos de

efecto en el paisaje natural y humano. Vive en Mumbay.

Juan Sebastián Peláez (Medellín, Colombia, 1982)

2007. Su trabajo ha circulado en Colombia, Estados Unidos, México, Perú, Argentina, España y
Alemania. Entre sus exposiciones recientes están la Bienal de Berlín (2016); Everything Included,
Sleep Center (Nueva York, 2016); Sitio, ArtBo (Bogotá, 2015); Temporary Autonomous No Flex Zone
#pleaselike
Banco de la República (Bogotá, 2015); Don’t Do it Yourself, Carne (México D.F., 2015), y Refurbished
(individual), MIAMI Prácticas Contemporáneas (Bogotá, 2014). Es cofundador de los espacios
independientes El Bodegón (2005–2009) y MIAMI (2011). Vive en Bogotá.

Linda Pongutá (Bogotá, Colombia, 1989)

Ha participado en exposiciones colectivas como Yogyakarta International Videowork Festival

(Indonesia, 2012); La estrategia del Caracol, The Warehouse Art (Bogotá, 2013); Travesías, Museo
Identities in Transit, Walking in Someone
Else’s Shoes, Aluna Art Foundation (Miami, 2014) y Artecámara, ArtBo (Bogotá, 2015). En su obra

Gala Porras-Kim (Bogotá, Colombia, 1984)

Tienen un doble pregrado en Arte y Estudios de América Latina en UCLA, así como estudios en la
Skowhegan School of Painting and Sculpture (Maine). Entre sus exposiciones individuales están
Artists Salon]. In 2012 he was a guest artist at the Buenos Aires Biennial of the Image in motion
– BIM and the Festival Vartex (Medellín, 2016) held a retrospective of his video work. He lives in
Bogotá, where he teaches at National University of Colombia.

Grupo Otún
A group founded by Martín Alonso Abad Abad (Jericó, Colombia, 1940), Álvaro Hoyos Baena
(Pereira, Colombia, 1953) and Mauricio Rivera Henao (Pereira, Colombia, 1980) to create aesthetic
experiences in contexts beyond the institutional settings of museums or galleries, which allow
for an interaction in symbolic and physical spaces, based on the relationship of the group with

point out vital phenomena connecting their human condition to the states of self-regulation and
automatism of life. The three artists who make up the group belong to different generations and
have had different types of academic training. Based on their experiences, each artist provides a

of the territories addressed in their projects. They live in Pereira.

Prabhakar Pachpute (Sasti, Chandrapur, India, 1986)

Is one of the most prominent Indian artists of his generation. After studying sculpture, he formed
the Shunya art collective, under the Clark House Initiative. He has exhibited in such institutions
as the Van Abbemuseum (Eindhoven, 2013), Kadist Art Foundation (Paris, 2013), IFA (Stuttgart and
Berlin, 2013), MACBA (Barcelona, 2015), and biennials like those of São Paulo (2014), Istanbul (2015),

applied directly to walls, often combining them with sculptures, light effects and box-frame ani-
mations, which refer to the job of miners and its effect on the natural and human landscape. He
lives in Mumbay.

Juan Sebastián Peláez (Medellín, Colombia, 1982)

2007. His work has been seen in Colombia, the United States, Mexico, Peru, Argentina, Spain and
Germany. Among his recent exhibitions there are the Berlin Biennial (2016); Everything Included,
Sleep Center (New York, 2016); Sitio [Site], ArtBo (Bogotá, 2015); Temporary Autonomous No Flex
Zone #pleaselike
Bank of Colombia (Bogotá, 2015); Don’t Do It Yourself, Carne (Mexico City, 2015), and Refurbished
(individual), MIAMI Prácticas Contemporáneas (Bogotá, 2014). He is co-founder of the independent
venues El Bodegón (2005-2009) and MIAMI (2011). He lives in Bogotá.

Linda Pongutá (Bogotá, Colombia, 1989)

-
pated in collective exhibitions like the Yogyakarta International Videowork Festival (Indonesia,
2012); La estrategia del Caracol [The Snail Strategy], The Warehouse Art (Bogotá, 2013); Travesías
Identities in Transit, Walk-
ing in Someone Else’s Shoes, Aluna Art Foundation (Miami, 2014) and Artecámara, ArtBo (Bogotá,
2015). Her work is based on her experience as a vessel for ideas which constructs the world. She
-
ence of situations that become not strictly fateful but probably uncanny. She adapts her work to

in time, a strange moment where apparently distant states are reconciled in an intercrossed, and
unstable temporality. She lives in Bogotá.

Gala Porras-Kim (Bogotá, Colombia, 1984)

Has undergraduate degrees in Art and Latin American Studies from UCLA and studied at the Skow-
hegan School of Painting and Sculpture (Maine). Among her individual exhibitions are: Whistling

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 , Commonwealth and Council (Los Ángeles, 2012); I Want
to Prepare to Learn Something I Don’t Know, Commonwealth and Council (Los Ángeles, 2010); F
for Overdue, FOXRIVER (Singapur, 2010), y Adaptations, Dobaebacsa HQ/ DaiShengFanDian (Seúl,
2010). Entre sus reconocimientos está el premio Creative Capital Award (2015) y una beca para
artistas visuales de la California Community Foundation (2013). En su trabajo parte de pregun-

culturas ajenas. Vive en Los Ángeles.

Ernesto Restrepo Morillo (Montería, Colombia, 1960)

Entre sus exposiciones individuales están En simultánea. Taller de economía básica (y esté-
tica), Sala U – Arte Contemporáneo (Medellín, 2012); Bolsa de valores
(Medellín, 2012); Papamasiva… ¡Tenga su propio bodegón! Cosecha 17, Museo de Arte Moderno
de Medellín (2011); The mus musculus domesticus project-Chapter one, VertexList (Brooklyn,
2004), y Steal-life, Benedicta Arts Center (Minnesota, 2002). Su obra ha participado en exhi-
biciones colectivas como El barro tiene voz, Museo de Arte Moderno de Medellín (2013); 41
Salón Nacional de Artistas (Cali, 2008) y 40 Salón Nacional de Artistas (Bogotá, 2006), entre
otros. Desde hace 25 años trabaja en su proyecto Cosecha de papas, donde entiende el des-

mercado. Vive en Medellín.

documental Manizales City originalmente para celebrar los 75 años de la fundación de la

centro de la ciudad. Tras su paso por el cine y la fotograf ía, Restrepo se dedicó a la minería
y el comercio, según el libro Historia social del cine en Colombia, de Álvaro Concha Henao.

Luis Roldán (Cali, Colombia, 1955)

Historia del arte en París. Entre sus recientes exposiciones individuales se encuentran, Periplo.
Una retrospectiva 1986-2016, Biblioteca Luis Ángel Arango (Bogotá, 2016); Rompecabezas, Museo
La Tertulia (Cali, 2015); Eidola Secreta Prudencia,
FUGA, y , Galería Casas Riegner (Bogotá, 2014). También ha expuesto en la Bienal
de Cartagena BIACI (2014), en Josée Bienvenu Gallery y 60 Wall Gallery – Deutsche Bank (Nueva
York, 2010 y 2012), en la X Bienal Monterrey FEMSA(2013), la Bienal de Venecia (2009), Lugar a
Dudas (2007, Cali), TEOR/éTica (2006, Costa Rica), y los Museos de Arte Moderno de Buenos
Aires y Montevideo, entre otros. Sus distinciones incluyen el Premio Luis Caballero (2001) y el
primer premio del XXXVI Salón Nacional de Artistas. Su obra hace parte de colecciones públi-

Unidos. Vive en Nueva York.

María Isabel Rueda (Cartagena, Colombia, 1972)

su maestría en Artes Plásticas y Visuales. Ha sido docente de la Maestría en Artes Plásticas y

Visuales de la Universidad Nacional, la Facultad de Artes Plásticas de la Universidad de Bogotá
-
dientes El Bodegón, La Residencia y actualmente dirige La Usurpadora, en Puerto Colombia. Entre
sus exposiciones individuales recientes están Lágrimas de Isis, Odeón (Bogotá, 2016); Como es
 , Commonwealth and Council (Los Angeles, 2012); I Want to Prepare
to Learn Something I Don’t Know, Commonwealth and Council (Los Angeles, 2010); F for Overdue,
FOXRIVER (Singapore, 2010); and Adaptations, Dobaebacsa HQ/ DaiShengFanDian (Seoul, 2010). She
has won such awards as the Creative Capital Award (2015) and a fellowship for visual artists from

which explore the limits and possibilities of gaining access to information about alien cultures.
She lives in Los Angeles.

Ernesto Restrepo Morillo (Montería, Colombia, 1960)

-
sylvania. Among his one-man shows are: En simultánea. Taller de economía básica (y estética)
[Simultaneously. Workshop on basic economy (and aesthetics)], Sala U – Arte Contemporáneo
(Medellín, 2012); Bolsa de valores
2012); Papamasiva... ¡Tenga su propio bodegón! Cosecha 17 [Papamasiva... Have your own still life!
Harvest 17], Medellín Museum of Modern Art) (2011); The mus musculus domesticus project-Chapter
one, VertexList (Brooklyn, 2004), and Steal-life, Benedicta Arts Center (Minnesota, 2002). His work
has been shown in collective exhibitions like El barro tiene voz [Clay has a Voice], Medellín Museum
of Modern Art (2013); the 41st National Salon of Artists (Cali, 2008) and the 40th National Salon of
Artists (Bogotá, 2006), among others. For the past 25 years, he has been working on his project
Cosecha de papas [Potato Harvest], where he regards the Discovery of America as an accident

context of commentaries on the economy and the market. He lives in Medellín.

his activities to cinema. He originally made the documentary Manizales City to celebrate the 75th

and commerce, according to the book Historia social del cine en Colombia, by Álvaro Concha Henao.

Luis Roldán (Cali, Colombia, 1955)

Architect from Javeriana University in Bogotá with studies in engraving and history of art in Paris.
Among his recent individual shows are: Periplo: una retrospectiva 1986-2016 [Voyage: a retrospec-
tive], Luis Ángel Arango Library (Bogotá, 2016); Rompecabezas
Museum (Cali, 2015); Eidola Secreta Prudencia
[Secret Prudence], FUGA, and
2014). He has also exhibited at the Cartagena Biennial, BIACI (2014); the Josée Bienvenu Gallery and
60 Wall Gallery – Deutsche Bank (New York, 2010 and 2012); the 10th Monterrey Biennial, FEMSA
(2013); the Venice Biennial (2009); Lugar a Dudas (2007, Cali); TEOR/ éTica (2006, Costa Rica); and
the Buenos Aires and Montevideo Museums of Modern Art, among others. His awards include the

United States. He lives in New York.

María Isabel Rueda (Cartagena, Colombia, 1972)

BFA and MFA from National University of Colombia. She has taught at National University, Jorge
-
pendent venues like El Bodegón and La Residencia in Bogotá, and currently directs another, La
Usurpadora, in Puerto Colombia. Among her recent individual shows are Lágrimas de Isis [Tears
of Isis], Odeón (Bogotá, 2016); Como es arriba es abajo [As is above, so is below], Sketch (Bogotá,
2015); and La llorona [The Wailing Woman], Mal de archivo (Rosario, Argentina, 2014). In her works,

342 / 343
arriba es abajo, Sketch (Bogotá, 2015), y La llorona, Mal de archivo (Rosario, Argentina, 2014). En
su obra explora, a través de medios como el dibujo, el video, la fotografía, las publicaciones y

interior. Vive en Puerto Colombia.

Jesús Ruiz Durand (Huancavelica, Perú, 1940)

Artista visual, diseñador multimedia, profesor universitario de posgrado e investigador en ico-

intervenido en numerosos proyectos investigativos considerados referentes en su género. Entre

revistas culturales Amarú, Educación, Textual y Martín

en distintos medios como las pinturas de Memorias de la ira (1987-2016); la serie cinética, fractal
y multimedia Poéticas del número (1968-2016); los trípticos profanos Presidentes–Presidiarios–
Corruptocracia (2005-2016) y los trípticos profanos dobles Heroicos indígenas americanos, nónimos
y anónimos (San Diego, California, 2017). Sus obras están en las colecciones de Moma (Nueva
York), Mali (Lima), Malba (Buenos Aires), Universidad Nacional Autónoma de México, Kunstverein
(Stuttgart), entre otras. Vive en Lima.

Edwin Sánchez (Bogotá, Colombia, 1976)

-
peñado en diferentes áreas como el diseño, la producción artística y la docencia. Actualmente

Pontifícia Universidade Católica de São Paulo, Brasil. Sus proyectos han sido incluidos en Pilot 3:
International archive for artists and curators (Londres, 2007), Younger than Jesus – New Museum
(Phaidon Press, 2008), y Project 35, Independent Curators International (2010), entre otros. Ha sido

proyectos colectivos como The Rimembers y El Bodegón. Su proyecto actual, cercano a la crónica,

material de archivo. Vive en Bogotá.

Vanessa Sandoval (Cali, Colombia, 1990)

Egresada de Licenciatura en Artes Visuales de la Universidad del Valle. Produce obra desde 2009
y exhibe desde 2011. Ha ganado distinciones como las Becas Locales de Creación BLOC (2014) y la
Convocatoria de la Sala de Exhibiciones de Lugar a Dudas (2014). Su trabajo está centrado en la

Tomás Saraceno (Tucumán, Argentina, 1973)

Bellas Artes (Buenos Aires) y la Staatliche Hochschule für Bildende Künste (Frankfurt). Su obra parte

nuevas y sostenibles de habitar y percibir el entorno. En los últimos años su obra ha sido parte
de exposiciones individuales y colectivas en el Museo de Arte Contemporáneo, Monterrey (2016);
Palais de Tokyo (París, 2015); Kunstsammlung Nordrhein-Westfalen K21 (Düsseldorf, 2013-15), y
Museo Metropolitano de Nueva York (2012), entre otros. Vive en y más allá del planeta Tierra.
she explores, thru media such as drawings, video, photography, books and installations, moments
where reality shows an unexpected inner richness. She lives in Puerto Colombia.

Jesús Ruiz Durand (Huancavelica, Peru, 1940)

Visual artist, multimedia designer, postgraduate university professor and iconography researcher.

contemporary aesthetics, both theoretical and practical. As a designer and visual creator, he has
intervened in many investigative projects considered canonical in their genre. He has researched

Amarú, Educació, Textual and Martín Memo-

rias de la ira [Memories of Anger] (1987-2016); the kinetic, fractal and multimedia series Poéticas del
número [Number Poetics] (1968-2016); his secular triptychs (Presidents–Prisoners–Corruptocracy,
2005-2016) and his double-triptychs Heroicos indígenas americanos, nónimos y anónimos [Heroic
American indigenous people, known and unknown] (San Diego, California, 2017). His works are in
the collections of the Moma (Nueva York), the Mali museum (Lima), the Malba museum (Buenos
Aires), National Autonomous University of Mexico and the Kunstverein (Stuttgart), among others.
He lives in Lima.

Edwin Sánchez (Bogotá, Colombia, 1976)

different areas like design, artistic production and teaching. Currently enrolled in a Masters in
Plastic and Visual Arts at National University de Colombia. His projects have been included in
Pilot 3, International archive for artists and curators (London, 2007); Younger than Jesus – New
Museum (Phaidon Press, 2008), and Project 35, Independent Curators International (2010), among
others. He was a winner at the Cycle of New Proposals, Aliance Française (Bogotá, 2011) and has
participated in collective projects like The Rimembers and El Bodegón. His current project is

material. He lives in Bogotá.

Vanessa Sandoval (Cali, Colombia, 1990)

Has a degree in Visual Arts from Vallee University. She has been producing works since 2009 and
exhibiting since 2011. She has won awards like the Local Fellowship for Creation (BLOC, 2014) and

inhabiting subjects and the tragic nature of human relations, which condition what we perceive
as reality. She lives in Bogotá.

Tomás Saraceno (Tucumán, Argentina, 1973)

Architect from the National University of Buenos Aires, with postgraduate degrees from the Escuela
Superior de Bellas Artes (Higher School of Fine Arts, Buenos Aires) and the Staatliche Hochschule
für Bildende Künste (Frankfurt). His work is based on an investigation of the worlds of art, archi-

forth and explore new and sustainable ways to inhabit and perceive our environment. In recent
years, his work has been shown in individual and collective exhibitions in the Monterrey Museum
of Contemporary Art (2016); Palais de Tokyo (Paris, 2015); Kunstsammlung Nordrhein-Westfalen
K21 (Düsseldorf, 2013-15), and New York Metropolitan Museum of Art (2012), among others. He lives
on and beyond Planet Earth.

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Claudia Patricia Sarria (Bogotá, Colombia, 1975)
Artista interesada en el campo de la gestión y producción artística. En su obra se ha concentrado
en indagar las condiciones de vida e interacción de las personas en el marco de los fenómenos
y contradicciones derivados del progreso de los sistemas de producción, distribución, consumo
y orden en el contexto urbano. Combina sus actividades con su labor en Helena Producciones,
No Copyright,
CALCO, Sala de exposiciones Universidad del Valle (Cali, 2014); Six Lines of Flight, Shifting
Geographies in Contemporary Art, SFMOMA (San Francisco 2012); Emergente, Casa Entrerríos
(Cali, 2011); XX Salón del Fuego Imagen
Regional 5, Banco de la República (Bogotá, 2007), y XIX Salón del Fuego, Fundación Gilberto

Moe Satt (Yangon, Birmania, 1983)

en diversas instituciones, entre ellas Rimbun Dahan (Malasia, 2008); 3331 Arts (Chiyoda, 2011); De
Deelstaat Nijmegen (Holanda, 2013), e International Residence at Récollets (Francia, 2015). Entre
sus exposiciones están las bienales de Busan (2012), CAFA (Pekín, 2013) y de Artes Vivas (Vancouver,
2011). También ha mostrado su trabajo en el Zürcher Theater Spektakel (Zúrich, 2013) y en el

En su obra examina, a través de fotografías y videos, detalles de la cultura budista de su país con
resonancias políticas. Trabaja como artista y curador en Yangon, Myanmar.

Jeremy Shaw (Vancouver Norte, Canadá, 1977)

Egresado del Emily Carr Institute of Art + Design (Vancouver). En su obra parte de diferentes
-

espacio posdocumental en el cual ideales y sistemas de creencia disparatados se valoran por

igual. Entre sus exposiciones individuales están Medium-Based Time, Contemporary Art Gallery
(Vancouver, 2015); Hot 100s Best Minds, MoMA, PS1 (Nueva York, 2011),
y Single Channel Higher States, SAMSA (Berlín, 2010). Vive en Berlín.

Jim Shaw (Midland, EE. UU., 1952)

Graduado de la Universidad de Michigan y con una maestría del California Institute of the Arts. En

instalaciones y música con el grupo Destroy All Monsters. Como observador y coleccionista de
los productos culturales de su país, explica: “Es buen gusto versus no buen gusto. Me di cuenta

desde el mainstream hasta los detritus religiosos en Thrift Store Paintings,

de tiendas de caridad. Entre sus exposiciones recientes están Jim Shaw: The End is Near, New
Museum y Simon Lee Gallery (Nueva York y Londres, 2015), y I Only Wanted You to Love Me, Metro
Pictures (Nueva York, 2014). Ha participado en bienales como la de Venecia (2013), Sidney (2002)
y la del Whitney Museum (2002 y 1991). Vive en Los Ángeles.

Andreas Siekmann (Hamm, Alemania, 1961)

(Utrecht, 2014); Galerie Barbara Weiss (Berlín, 2014); Museum Abteiberg (2012), y Städtische
Museen Jena (2010). Su obra ha sido incluida en muestras colectivas como la Bienal de Taipei
(2012), y las Documentas 12 y 11 (Kassel, 2007 y 2002). Su obra parte de una tradición de visua-
Claudia Patricia Sarria (Bogotá, Colombia, 1975)

on the conditions of the lives and the interactions of people within the framework of the phe-
nomena and contradictions derived from the progress of systems of production, distribution,
consumption and order in an urban context. She combines those activities with her work at Helena
Producciones, an artists’ collective she has belonged to since 2000. Her work has been shown
at: No Copyright, CALCO, Universidad del Valle Exhibition Galleries (Cali, 2014); Six Lines of Flight,
Shifting Geographies in Contemporary Art, SFMOMA (San Francisco 2012); Emergente [Emergent],
Casa Entrerríos (Cali, 2011); XX Salón del Fuego [20th Salon of Fire], FUGA (Bogotá, 2008); Imagen
Regional 5 [Regional Image 5], Central Bank of Colombia (Bogotá, 2007), and the XIX Salón del Fuego,
FUGA (Bogotá, 2006). She lives in Cali.

Moe Satt (Yangon, Burma, 1983)

-
eration with a different approach to concepts and materials. He has been an artist in residence
in such institutions as the Rimbun Dahan (Malaysia, 2008); 3331 Arts (Chiyoda, Tokyo 2011); De
Deelstaat Nijmegen (Holland, 2013), and the International Residence at Récollets (France, 2015).
He has participated in the biennials of Busan, Korea (2012), CAFA (Peking, 2013) and ¡Live! (Van-
couver, 2011). He has also shown his work at the Zürcher Theater Spektakel (Zurich, 2013) and the

photographs and videos, his work examines details of the Buddhist culture of his country, with
political undertones. He works as an artist and curator in Yangon, Myanmar.

Jeremy Shaw (North Vancouver, Canada, 1977)

Graduate of the Emily Carr Institute and of Art + Design (Vancouver). His work makes use of dif-

transcendental languages. Combining and broadening the languages of conceptual art, ethno-

Medium-Based Time, Contemporary Art Gallery (Vancouver, 2015); Hot 100s

2014); Best Minds, MoMA, PS1 (New York, 2011); and Single Channel Higher States, SAMSA (Berlin,
2010). He lives in Berlin.

Jim Shaw (Midland, U.S., 1952)

He is a graduate of the University of Michican with a MFA from the California Institute of Arts. His
work mines the leftovers of pop culture with an eclectic approach that includes drawings, paint-
ings and installations, and music with the band Destroy All Monsters. As an observer and collector
of the cultural products of his country, he remarks: “It is a matter of good taste versus bad taste.

ranges from the mainstream to the religious debris seen in Thrift Store Paintings, where he acts
as a curator of the works sold there. Among his recent exhibitions there are: Jim Shaw: The End is
Near, New Museum and Simon Lee Gallery (New York and London, 2015), and I Only Wanted You to
Love Me, Metro Pictures (New York, 2014). He has participated in biennials like Venice (2013), Sydney
(2002), and Whitney Museum (2002 and 1991). He lives in Los Angeles.

Andreas Siekmann (Hamm, Germany, 1961)

Has held one-man shows at institutions like BAK – Base for Active Knowledge (Utrecht, 2014);
Galerie Barbara Weiss (Berlin, 2014); the Museum Abteiberg (2012), and the Städtische Museen
(Jena, 2010). His work has been shown in collective exhibitions like the Taipei Biennial (2012), and
the Documentas 12 and 11 (Kassel, 2007 and 2002). His work is inspired by the tradition of data

346 / 347
con los espectadores datos con resonancias políticas, sociales y económicas. A través de sus

Jeison H. Sierra
-
sado estudios en el Instituto de Bellas Artes y la Escuela de Artes Débora Arango. Su obra es el

convertido en el punto de partida y en el detonante de su proceso actual. Su éxodo constituye

se convierten en disparadores de sentido. Su obra hace parte de las colecciones Suramericana

(Medellín) y la de Arte Latinoamericano Goodyear (2015), y de colecciones privadas en Colombia,
Alemania y Estados Unidos. Vive en Medellín y Bogotá.

Eusebio Siosi Rosado (Riohacha, Colombia, 1971)

-

y 2000); Imagen Caribe: la pintura, exposición itinerante por las sedes culturales del Banco

Riohacha, Valledupar, 2000-2002). Su proyecto Sueños de la Outsü se presentó en Limited

Contract (Zúrich, 2015). Actualmente trabaja en Barreras Visuales

proyectos culturales y de formación en La Guajira.

Chulayarnnon Siriphol (Bangkok, Tailandia, 1986)

-
-

numerosos festivales de cine en Asia y Europa, entre ellos el 34 Festival Internacional

de Cine de Rotterdam (2005), el 26 Festival Internacional de Cortometrajes de Hamburgo
(2010), Can You Hear Me?, Objectifs – Centre for Photography and Film (Singapur, 2012), la IV
Bienal Internacional de Arte Joven de Moscú (2014) y la V Trienal de Arte Asiático de Fukuoka
(Japón, 2014). Vive en Bangkok. www.chulayarnnon.com

Corazón del Sol (Berkeley, EE.UU., 1972)

Let Power Take A Female Form, The

Box (Los Ángeles, 2015); Feed Me – What You Need To Know, Highways (Los Ángeles, 2014), y The
Kitchen Table, reprise, College Art Association Conference (Los Ángeles, 2012). Vive en Los Ángeles.

Alfonso Suárez (Mompox, Colombia, 1952)

invitado de honor en la Bienal de Arte de Bogotá (1990) y haber recibido primeros premios en el VI
confront both his and his public’s preconceptions. In addition to his work as an artist, he is also
a curator. He lives in Berlin.

Jeison H. Sierra

studies at the Institute of Fine Arts and the Débora Arango School of Fine Arts. His work revolves

in his life, where the emotional burden of uprooting and loneliness become sources of meaning. His
work is part of the Suramericana (Medellín) and Goodyear Latin American Art collections (2015) as
well as private ones in Colombia, Germany and the United States. He lives in Medellín and Bogotá.

Eusebio Siosi Rosado (Riohacha, Colombia, 1971)

2011); the 40th National Salon of Artists (Tunja, 2005); the Salons of Young Artists from the Coast
Imagen Caribe, la pintura [Caribbean Image, painting], an itiner-
ant exhibition shown at the cultural centers of the Colombian Central Bank (Cartagena, Sincelejo,

entitled Sueños de la Outsü [Dreams of the Outsü] was presented at Limited Contract (Zurich, 2015).
He is currently working on Barreras Visuales [Visual Barriers], where he uses performative acts of

customs and uses of the Wayuu indigenous culture. He lives in Riohacha and works on cultural
and training programs in La Guajira.

Chulayarnnon Siriphol (Bangkok, Thailand, 1986)

-
mental and documentary shorts— to explore the intersection between personal and social

Film Festival (2005), the 26th Hamburg Short Films Festival (2010), Can You Hear Me? Objectifs
– Centre for Photography and Film (Singapore 2012), the Fourth Moscow International Biennial
of Young Artists (2014) and the 5th Fukuoka Triennial of Asiatic Art (Japan, 2014). He lives in
Bangkok. www.chulayarnnon.com

Corazón del Sol (Berkeley, U.S., 1972)

Was born into an artistic environment as the granddaughter of the artist Eugenia Butler and the

dynamics from an early age and a witness to the initial acceptance and later rejection of those
two women. Among her exhibitions are: Let Power Take Female Form, The Box (Los Angeles, 2015);
Feed Me – What You Need To Know, Highways (Los Angeles, 2014), and The Kitchen Table, reprise,
College Art Association Conference (Los Angeles, 2012). She lives in Los Angeles.

Alfonso Suárez (Mompox, Colombia, 1952)

1980’s. Among his awards, he has been a guest artist at the 1990 Bogotá Biennial of Art and has

7 th Regional Salon (1995) and the 8th Regional Salon (1997). His performances combine elements

348 / 349
Salón Regional de Artistas (1993), XXXV Salón Nacional de Artistas (1994), VII Salón Regional (1995), y
VIII Salón Regional (1997). Su trabajo en el performance transita entre lo popular, lo kitsch, la crítica

Maria Taniguchi (Dumaguete City, Filipinas, 1981)

Ganadora del premio Hugo Boss Asia Art (2015) y Artista asociada LUX (2009). Entre sus expo-
siciones recientes están History of a Vanishing Present: A Prologue, The Mistake Room (Los
Ángeles, 2016); Afterwork, Para Site (Hong Kong, 2016); Globale: New sensorium, ZKM Centre
for Art and Media (Karlsruhe, 2016); The Vexed Contemporary, Museum of Contemporary Art

Kong); the Burger Collection (Hong Kong); Kadist Art Foundation (San Francisco); Queensland
Art Gallery/Gallery of Modern Art (Brisbane); y la K11 Art Foundation (Shanghai). Vive en Manila.

Jorge Tobar Panchoaga (Popayán, Colombia, 1984)

Antropólogo y fotógrafo. Desarrolla trabajos relacionados con su historia personal a partir
de temas como la identidad, la memoria y las relaciones del ser humano con su entorno. Su

fotograf ía de Higashikawa (Japón). Además de Colombia, ha expuesto en España, Argentina,

Chile, Guatemala, Irlanda, Lituania y Ecuador. Ganó la beca de creación de artistas con tra-
yectoria intermedia del Ministerio de Cultura (2016); el Premio Iberoamericano de Fotograf ía

Salón de Arte Joven Club el Nogal (2011). Es cofundador del Colectivo de fotograf ía +1 y de

Gustavo Toro (Pereira, Colombia, 1982)

Artista visual egresado de la Universidad Tecnológica de Pereira. Su trabajo ha sido expuesto
en el Museo de Arte Moderno de Medellín; ArteCámara, ArtBo (Bogotá, 2013); Museo de Arte de
Pereira (2014); Casa Republicana, Banco de la República (Bogotá, 2012); Centro de Artes CMA
(Madrid, 2013); Banco de la República (Pereira, 2014), y Design District Exhibition (Miami, 2013),
-

de investigación – creación en artes visuales del Instituto de Cultura de Pereira (2015); Beca de
creación para jóvenes artistas, Ministerio de Cultura (2014); Pasantías Nacionales, Ministerio
de Cultura (2013); Salón Traslude de Arte Contemporáneo, Museo de Arte de Pereira (2012), y
FotoUrbe 5 (2011). Vive en Pereira.

Ivan Tovar (Cali, Colombia, 1987)

Estudió Arte en el Instituto Departamental de Bellas Artes en Cali, de donde se graduó con su
proyecto Todos los fuegos el fuego
actualmente dirige el programa internacional de residencias. Entre sus distinciones está una
-
gentes de la Secretaría de Cultura de Cali (2015). Ha participado en exposiciones colectivas como
Artecámara 2015, ArtBo (Bogotá); Horas extra, MIAMI Prácticas Artísticas (Bogotá, 2016) y NON,
SAVVY Contemporary (Berlín, 2014). En su obra se ocupa del antiespacio
universo se expande, ¿hacia dónde lo hace exactamente? El antiespacio tiene la capacidad de
ser reconstruido, destruido y transformado constantemente. El antiespacio es una paradoja,
of popular art, kitsch, environmental criticism and the metamorphosis of the body and the sur-

Maria Taniguchi (Dumaguete City, Philippines, 1981)

exhibitions are: History of a Vanishing Present: A Prologue, The Mistake Room (Los Angeles, 2016);
Afterwork, Para Site (Hong Kong, 2016); Globale: New sensorium, ZKM Centre for Art and Media
(Karlsruhe, 2016); The Vexed Contemporary, Museum of Contemporary Art and Design (Manila, 2015);

consists of cerebral paintings done in a daily and systematic way which use different densities

Her work is found in the collections of the M+ Museum (Hong Kong); the Burger Collection (Hong
Kong); the Kadist Art Foundation (San Francisco); the Queensland Art Gallery/Gallery of Modern
Art (Brisbane); and the K11 Art Foundation (Shanghai). She lives in Manila.

Jorge Tobar Panchoaga (Popayán, Colombia, 1984)

Anthropologist and photographer, his works focuses on his personal story and revolves around
subjects like identity, memory and mankind’s relations with its environment. His work forms part
of collections like the Swiss Cultural Fund in Colombia and the Higashikawa, Japan photography
collection. In addition to Colombia, he has exhibited in Spain, Argentina, Chile, Guatemala, Ireland,
Lithuania and Ecuador. He won a fellowship for creation, awarded to artists in mid-career by the

(2011). He is a co-founder of the + 1 Photography Collective and the CROMA Visual Workshop. He

Gustavo Toro (Pereira, Colombia, 1982)

Visual artist graduated from the Technological University of Pereira. His work has been shown at
the Medellín Museum of Modern Art; ArteCámara, ArtBo (Bogotá, 2013); the Pereira Museum of Art
(2014); Casa Republicana, Central Bank of Colombia (Bogotá, 2012); Centro de Artes CMA (Madrid,
2013); Central Bank of Colombia (Pereira, 2014); and the Design District Exhibition (Miami, 2013),
-
sions related to inhabiting territories that face natural dynamics that alter the landscape. He was

visual arts from the Pereira Institute of Culture (2015); a Fellowship of Creation for Young Artists,

the Traslude Salon of Contemporary Art (Pereira, 2012) and Fotourbe (2011). He lives in Pereira.

Iván Tovar (Cali, Colombia, 1987)

He studied Art at the Cali Departmental Institute of Fine Arts, where his graduation project was
Todos los fuegos el fuego [All the Fires the Fire]. Since 2013 he has been part of the Lugar a Dudas
team, where he currently directs the program of international residencies. He has won an intern-

from the Cali Secretary of Culture. He has participated in collective exhibitions like Artecámara
2015, ArtBo (Bogotá); Horas extra [Extra Hours], MIAMI Prácticas Artísticas (Bogotá, 2016); and
NON, SAVVY Contemporary (Berlin, 2014). His work is concerned with the “anti-space”, imagined to
be the expanding universe: exactly where does it expand to? The “anti-space” can be constantly
reconstructed, destroyed and transformed: it’s a paradox, like the void left by a book by the U.S.
intervention artist Gordon Matta-Clark in a library. He lives in Cali.

350 / 351
Andrés Felipe Uribe Cárdenas (Bogotá, Colombia, 1982)

crossover

de poder y acción semiótica. Desde 2004 exhibe su trabajo a nivel local e internacional. Entre

2015); NADA (Bogotá, 2015) y MIAMI Prácticas Contemporáneas (Bogotá, 2011). Ha participado
en exhibiciones colectivas nacionales como Cilicios, Galería Espacio El Dorado (Bogotá, 2016);
Pabellón Artecámara en ArtBo (Bogotá, 2015, 2011 y 2007), y Salón Regional de Artistas Zona
Centro (Bogotá, 2015 y 2009), y en colectivas internacionales en Berlín, Oslo y Washington, entre
otras. Becario del Instituto Goethe en 2012, del Ministerio de Cultura de Colombia en 2015 y de
Idartes en 2015. Vive en Bogotá.

Liliana Vélez Jaramillo (Bogotá, Colombia, 1980)

Estudió Arte en la Universidad de los Andes. Ha mostrado su trabajo, entre otros, en el
Instituto Hemisférico de Performance (Nueva York); el Museo de Arte Contemporáneo –
MAC (Bogotá); en ARCOmadrid, y en el Festival de Cine de Oberhausen. En su obra explora y

de salir y expresar, producto de haber tratado de esconder su cuerpo y sus emociones por
largo tiempo. Vive en Bogotá.

Apichatpong Weerasethakul (Bangkok, Tailandia, 1970)

Cineasta y artista. Ha expuesto sus videos e instalaciones en eventos como las bienales de
Sharjah (Emiratos Árabes, 2013), Liverpool (2006), Busan (2004) y Estambul (2001), y en la
Documenta 13 (Kassel, 2012). Sus obras se apartan de una linealidad tradicional para trans-
mitir una fuerte sensación de desencajamiento. Temáticamente, Weerasethakul enfrenta la
cuestión de la memoria, aproximándose sutilmente a sus dimensiones políticas y sociales.
Entre sus reconocimientos está la Palma de Oro del Festival de Cannes, por su película Lung
Boonmee Raluek Chat
en Chiang Mai, Tailandia.

Ming Wong (Singapur, 1971)

icónicos del cine mundial o la cultura popular, a menudo interpretando personajes de diversos
géneros, etnicidades, nacionalidades o periodos históricos. Aprovechando traducciones imper-
fectas, Wong descubre los agujeros y lagunas tras las nociones de autenticidad y originalidad
en la vida personal y social, revelando cómo la identidad se construye, reproduce y circula.
Representó a Singapur en la 53 Bienal de Venecia (2009), donde su muestra individual Life of
Imitation recibió mención especial. Ha expuesto individualmente en instituciones como Ullens
Center for Contemporary Art (Pekín, 2015); Shiseido Gallery (Tokio, 2013); REDCAT (Los Ángeles,
2012), y Neuer Berliner Kunstverein (Berlín, 2010). Ha participado en numerosas bienales, entre
ellas la de Sydney (2016 y 2010); Shanghai (2014); Lyon (2013); Liverpool (2012); Gwangju (2010), y
Performa 11 (Nueva York, 2010). Vive en Berlín.

www.interferencia-co.net

(Bogotá, Colombia, 1972) y Jimena Andrade (Bogotá, Colombia, 1971) para generar estrategias de
pertenencia y ejercicios de contexto con comunidades y diferentes actores sociales. Su metodo-
Andrés Felipe Uribe Cárdenas (Bogotá, Colombia, 1982)

University of Bogota. His work as an expression of “crossover” practices, combining text, audio,
video and performance pointing at problems of language which weave dynamics of power and
semiotic action. He has exhibited his work both in Colombia and abroad since 2004. He has held
one-man shows in SELECTO – Planta Baja (Los Angeles, USA, 2015); NADA (Bogotá, 2015) and MIAMI
Prácticas Contemporáneas (Bogotá, 2011), among others. He has participated in collective exhi-
bitions in Colombia like Cilicios [Cilice], Galería Espacio El Dorado (Bogotá, 2016); the Artecámara
Pavilion at ArtBo (Bogotá, 2015, 2011 and 2007), and the Regional Salon of Artists, Central Zone
(Bogotá, 2015 and 2009), and in international ones in Berlin, Oslo and Washington, among others.
He won a Fellowship from the Goethe Institute in 2012, the Colombian Ministry of Culture in 2015
and the Bogotá District Institute of Arts (Idartes) in 2015. He lives in Bogotá.

Liliana Vélez Jaramillo (Bogotá, Colombia, 1980)

She studied Art at Los Andes University (Bogotá). Her work has been featured at the Hemispheric
Performance Institute (New York); the Bogotá Museum of Contemporary Art (MAC, Bogotá); ARCO-
madrid and the Oberhausen (Germany) Short Film Festival. Her work explores and transgresses the
line dividing public and the private, using her body as a tool. Inspired by her personal history, her
work seeks to make visible a repressed desire to go out and express herself, the result of having
tried too long to hide her body and emotions. She lives in Bogotá.

Apichatpong Weerasethakul (Bangkok, Thailand, 1970)

Film-maker and artist who has shown his videos and installations in events like the biennials of
Sharjah (United Arab Emirates, 2013), Liverpool (2006), Busan (2004) and Istanbul (2001), and at the
Documenta 13 (Kassel, 2012). His works reject a traditional linearity in order to transmit a strong

subtly approaching its political and social dimensions. Among others he has won the “Golden Palm”
Lung Boonmee Raluek Chat

Ming Wong (Singapore, 1971)

Is a creator of videos, photographs, installations and performances where he reinterprets iconic
moments in world cinema or popular culture, playing roles of diverse genders, ethnicities, nation-
alities or historical periods. Taking advantage of mistranslations, Wong discovers the omissions
and gaps behind the notions of authenticity and originality in personal and social life and reveals
how identity is built, reproduced and circulated. He represented Singapore at the 53rd Venice
Biennial (2009), where his individual show, Life of Imitation, won a special mention. He has held
individual exhibitions at institutions like the Ullens Center for Contemporary Art (Peking, 2015);
the Shiseido Gallery (Tokyo, 2013); REDCAT (Los Angeles, 2012), and the Neuer Berliner Kunstverein
(Berlin, 2010). He has participated in numerous biennials, among them those of Sydney (2016 and
2010); Shanghai (2014); Lyon (2013); Liverpool (2012); Gwangju (2010), and Performa 11 (New York,
2010). He lives in Berlin.

www.interferencia-co.net
Tactical Action formed in 2008, created and managed by Marco Moreno (Bogotá, Colombia, 1972)
and Jimena Andrade (Bogotá, Colombia, 1971) to create strategies of belonging and exercises with

tools in videos, translations and web strategies, available on their website, which has become an
-
duced. They have participated at events like Escuela de garaje [Garage school], the 15th Regional
2nd De-formation Encounter, ‘To be here doing something’,

352 / 353
eventos como Escuela de garaje, 15 Salón Regional de Artistas Zona Centro (2015); II Encuentro
De-formación. Estar aquí haciendo algo, Centro Cultural de España (México D.F., 2014), y Museo de

Eider Yangana (Popayán, Colombia, 1990)

Indígena del resguardo Yanacona de Rioblanco Sotará. Yanagana es maestro en Artes Plásticas
de la Universidad del Cauca (2014) y su área de investigación es el performance y la instalación,

Además de su trabajo artístico, ha desarrollado una labor pedagógica de pintura mural con
diferentes colectivos en el territorio caucano.

Sonnia Yépez (Buga, Colombia, 1992)

Maestra en Artes Plásticas de la Universidad de Caldas. Ha participado en exposiciones colec-

Delicado

Sergio Zevallos (Lima, Perú, 1962)

-
mente a emergencias. Luego vivió los estados de emergencia de los años 70 y 80, cuando

sirve de base para una práctica nómada por diversas geograf ías y disciplinas artísticas.

conceptual. Entre sus exposiciones individuales están Proyecto AMIL (Lima, 2015); Un cuerpo
ambulante, Württembergischen Kunstverein (Stuttgart, 2014), y Callejón oscuro, Museo de
Arte Contemporáneo MAC (Lima, 2013). Su obra hace parte de colecciones como la del Museo
Nacional Reina Sof ía (Madrid), la del Banco de la República (Bogotá) y la Colección Peter Nobel
(Zúrich). Vive en Berlín.
in Guasca, Colombia.

Eider Yangana (Popayán, Colombia, 1990)

A member of the Yanacona indigenous community of Rioblanco Sotará, he teaches visual arts

into forms of human expression that resound with the harmonious and the natural. In addition
to his artistic work, he has given several mural painting workshops with different collectives in
the Department of Cauca.

Sonnia Yépez (Buga, Colombia, 1992)

Graduated in Art from Caldas University (Colombia), has participated in collective exhibitions in

exchanges and worked in Guadalajara, Mexico. She held an individual exhibition, entitled Delicado

Sergio Zevallos (Lima, Peru, 1962)

He was born in what was then the best hospital in Lima, after his mother sneaked through the
emergency ward. Afterwards, he lived through the states of emergency in Peru during the 1970’s
and 1980’s, when his uprooting began. He has no formal studies. He arrived in Berlin in 1989, the
starting point for a nomadic career which has taken him through different places and disciplines.
He began with drawings, and followed it with performance and photography. He also writes,
composes soundtracks and mixes everything. He is interested in the contradictions between the
individual and power in a work marked by its hybrid nature, both in the organic and sexual sense
and in the theoretical and conceptual one. Among his individual exhibitions are Proyecto AMIL [Amil
Project], (Lima, 2015); Un cuerpo ambulante [A wandering Body], Württembergischen Kunstverein
(Stuttgart, 2014); and Callejón oscuro [Dark Alley] Museum of Contemporary Art, MAC (Lima, 2013).
His work forms part of the collections of the Reina Sofía Museum of Art (Madrid), Central Bank of
Colombia (Bogotá) and the Peter Nobel Collection (Zurich). He lives in Berlin.

354 / 355
Componente editorial

(Pereira, Colombia, 1974)

-
Sexta Generación y Otros Cuentos (2010),
La Dieta de la Hiena (2013), Al Recio Empuje de los Titanes – Pereira 150 Años Los Vasos
Silbantes -

El
Diario del Otún.

Liliana Angulo Cortés (Bogotá, Colombia, 1974)

Artista plástica graduada de la Universidad Nacional de Colombia, con Maestría en Artes en
la Universidad de Illinois en Chicago (beca Fullbright). Además de varias exposiciones indivi-
duales y colectivas en Colombia, ha participado en exhibiciones en Europa, Asia, América y el
Caribe. En su obra investiga el cuerpo y la imagen a partir de asuntos de género, etnicidad,
lenguaje, historia y política. Su compromiso con las comunidades afrodescendientes la ha

como prácticas performativas, tradiciones culturales, asuntos de reparación histórica y el

su producción artística en medios como escultura, fotograf ía, video, intervenciones, ins-
talación, performance y sonido, entre otros. Entendiendo la práctica artística como
integral, también se ha desempeñado como investigadora, creadora, educadora, gestora, admi-
nistradora y curadora. Vive en Colombia.

María Natalia Ávila Leubro (Bogotá, Colombia, 1979)

e inanimados, mediados por el humor, la tragedia, la cotidianidad y la música, entre otros.

Ha participado en numerosas publicaciones, entre ellas ANTI-OQUIA (2012) y Sobre el fra-
caso (2010). Ha participado en exposiciones como Terra Tenebrosa, Sin Espacio (Cali, 2016);
Sal Vigua, Cámara de Comercio de Bogotá (2015); El salón de la justicia, FUGA y Cámara de
Comercio de Bogotá (2015), y Muñecos de loza, Museo de Arte Contemporáneo de Bogotá – MAC

Cajón de sastre
Propuesta editorial de carácter interdisciplinario e independiente a cargo de Catalina Vargas

explorar correspondencias y sincronías frente al texto literario. La iniciativa nació con el

propósito de divulgar expresiones narrativas contemporáneas y se inscribe en una cultura

Entre sus publicaciones se encuentran Papel de pared amarillo, de Charlotte Perkins Gilman
ilustrado por Alejandro Mancera; Sus cartas, de Kate Chopin ilustrado por José Tomás Giraldo;
La letra U, de Ugo Tarchetti ilustrado por Andrés Felipe Uribe; La mente encantada, de Nathaniel
Levantar cabezas, de Lydia Maria Child ilustrado por
Liliana Angulo, y La bella penitente, de Wilkie Collins ilustrado por Nicolás Paris. Dentro del
44 SNA publicó Tú y yo de Juan Cárdenas.
Editorial component
Gustavo Acosta Vinasco (Pereira, Colombia, 1974)
Studied philosophy, literature, journalism and languages. He has been a journalist, editor and con-
tents director for various Colombian media. Among his publications there are: Sexta Generación
y Otros Cuentos [Sixth Generation and Other Stories], (2010); La Dieta de la Hiena [The Hyena’s
Diet], (2013); Al Recio Empuje de los Titanes – Pereira 150 Años [The Vigorous Thrust of the Titans
– 150 years of Pereira], (Editor, 2013), and Los Vasos Silbantes [Sibilant Glasses/ Vessels], (2015). A

lives in Pereira, where he works as a journalist and web editor for the El Diario del Otún newspaper.

Liliana Angulo Cortés (Bogotá, Colombia, 1974)

A visual artist with a BA from National University of Colombia and an MFA from the University of
Illinois in Chicago (Fulbright Scholarship). In addition to a number of individual and collective
enterprises in Colombia, she has participated in exhibitions in Europe, Asia, the Americas and

ethnicity, language, history and politics. Her commitment to the country’s Afro-American com-

power, as well as performative practices, cultural traditions, efforts at historical reparation and a
-
ture, photography, video, interventions, installations, performances and sound, among others.
She regards art as an integral practice and has thus worked as an investigator, creator, educator,

María Natalia Ávila Leubro (Bogotá, Colombia, 1979)

-
tures, leavened by humor, tragedy, everyday life and music, among others. She has contributed
to many publications, such as ANTI-OQUIA (2012) and Sobre el fracaso [On failure], (2010). She has
participated in exhibitions like Terra Tenebrosa [Sinister Land], Sin Espacio (Cali, 2016); Sal Vigua
[Cormorant Salt], Bogotá Chamber of Commerce (2015); El Salón de la justicia [The Salon of Justice],
FUGA and the Bogotá Chamber of Commerce (2015); and Muñecas de loza [China dolls], Bogotá
Museum of Contemporary Art –MAC (2014). She was part of the Zunga Collective since 2007 until
its dissolution in 2014. She lives in Bogotá.

Cajón de Sastre
Interdisciplinary and independent editorial initiative, founded by Catalina Vargas Tovar (Cali, Colom-
bia, 1977) that gathers, ineach book, creators from different disciplines to explore connections and
coincidences in approaching literary texts. It started as a way to disseminate contemporary narra-

and appropriate different cultural referents. Cajón de sastre has published Spanish translations
of Charlotte Perkins Gilman’s The Yellow Wallpaper, illustrated by Alejandro Mancera; Kate Chopin’s
Her Letters, illustrated by José Tomás Giraldo; Ugo Tarchetti’s La lettera U, illustrated by Andrés
Felipe Uribe; Nathaniel Hawthrone’s The Haunted Mind
Child’s Stand from Under, illustrated by Liliana Angulo, and Wilkie Collins’ A Fair Penitent, illustrated
by Nicolás Paris. As part of the 44th SNA, they published Tú y yo [You and I], by Juan Cárdenas.

356 / 357
Juan Cárdenas (Popayán, Colombia, 1978)
Zumbido Los estratos
Ornamento (Periférica, 2015). Traduce, viaja, pasa mucho tiempo solo, da paseos largos, es

ningún periódico y como vive distraído se la pasa concentrado en otra cosa. Vive en Bogotá.

Ensayo Colectivo Editorial

Se conforma en 2015 por Yolanda Chois Rivera (Cali, Colombia, 1987), María Juliana Soto

Hacia el litoral. Acción Colectiva,

de la emisora de la Universidad Nacional de Colombia (Bogotá, 2105) y junto a la piscina de

la Casa Obeso Mejía (Cali, 2016). Tras estas sesiones de taller-debate, las experiencias se
Ensayo # 1, Ensayo # 2, Ensayo # 3.

José Antonio Covo Meisel (Cartagena, Colombia, 1987)

Maestro en Artes de la Universidad de los Andes. Entre sus intereses se cuentan el psicoa-

en las exposiciones El niño peristalsis y la comitiva vomitiva

2015); Una cierta muerte, Museo de Arte Moderno de Cartagena (2014), y No Tengo Hambre,

en 2015, su primera novela, Osamentas relampagueantes (Caín Press). Vive en Cartagena.

Tupac Cruz (Austin, EE.UU, 1976)

En 2012 expuso La mente miente

el presidente de Colombia involucra a los ciudadanos en una sociedad fundada por helechos
-
(Jardín Publicaciones, 2013) y en la
El escáner consume su propio interior, inspirada en representaciones populares
El diablo probablemente, Museo

Juan Nicolás Donoso Cubillos (Bogotá, Colombia, 1977)

El exceso en Kierkegaard. Desde 2011
se desempeña como docente en la Escuela de Ciencias Humanas de la Universidad del

En varios de sus textos literarios el sistema nervioso central se asume como una anomalía
Río Grande Review
sujeto trascendental como sujeto sin yo (o tengo un doctorado en secundaria)”, incluido en
Escuelita del mal
de la localidad de Kennedy. Vive en Bogotá.
Juan Cárdenas (Popayán, Colombia, 1978)
Has published the novels Zumbido Los estratos [The strata] (Peri-
férica, 2013) and Ornamento [Ornament], (Periférica, 2015). He translates, travels, spends a lot of
time alone, takes long walks, is a teacher of Creative Writing at the Caro and Cuervo Institute, does
not want to have a column in any newspaper, and since he lives in a distracted state, spends his
time focusing on something else. He lives in Bogotá.

Ensayo Colectivo Editorial [Essay/Test/Trial Publishing Collective]

Colombia, 1982) as an exercise in editing and publishing a record of the artistic and communica-
tive experiences of the Hacia el litoral. Acción Colectiva [Towards the coast. Collective Action]
project, undertaken in 2014. Between 2015 and 2016, the collective carried out acts of discussion
(readings exchanges of texts and voices) and editorial composition, in order to expose or open up
the procedures of creating documents, memoirs and reports before publishing them. It has car-
ried out interventions in La Tertulia Museum (Cali, 2015), the “La radia será” program on the radio
station of National University of Colombia (Bogotá, 2015) and alongside the swimming pool of the
Obeso Mejía House in Cali (2016). Following those workshops/debate sessions, the experiences
Ensayo # 1, Ensayo # 2, Ensayo # 3.

José Antonio Covo Meisel (Cartagena, Colombia, 1987)

Has a BFA in Arts from Los Andes University (Bogotá). Among his interests are psychoanalysis,

exhibitions El niño peristalsis y la comitiva vomitiva [The Peristalsis Child and the Emetic Retinue],
Una cierta muerte [A Certain Death], Cartagena Museum of
Modern Art (2014); and No Tengo Hambre
Osamentas
relampagueantes [Flashing Bones], (Caín Press). He lives in Cartagena.

Tupac Cruz (Austin, U.S., 1976)

In 2012 he exhibited La mente miente

papier maché, drawings and a video in which the president of Colombia, who is involved with the

Esfera roja [Red sphere]

and his installation El escáner consume su propio interior [The scanner consumes its own insides],
inspired by popular representations of imprisonment and included in the exhibition El diablo
probablemente [Probably the Devil], La Tertulia Museum (Cali, 2015). Among the concerns which
he deals with in these works are: “getting by vs. growing”, “paying attention vs. being distracted”

Juan Nicolás Donoso Cubillos (Bogotá, Colombia, 1977)

Visual artist with an MA in philosophy with the thesis Excess in Kierkegaard. Since 2011 he has
taught at the School of Human Sciences at Rosario University (Bogotá). Among his interests there
are the links between existentialism and the philosophy of the mind. In several of his literary texts
the central nervous system is regarded as an anomaly in itself. He published “Dramatic Chronicle”
in the Río Grande Review (2013) and “On the transcendental subject as a subject without an ‘I’ (or
I have a doctorate in secondary education)”, included in the publication of the Escuelita del mal
[Little school of evil] workshop, held by the artist Paulo Licona in schools of the Kennedy district
in Bogotá. He lives in Bogotá.

358 / 359
Bruno Mazzoldi (Milán, Italia, 1942)
Residente en Colombia desde 1960. Ha enseñado en la Escuela Normal para Varones de Fonseca,
Baja Guajira, el Colegio Junín de la Isla de Providencia, la Universidad del Cauca y la Universidad

-
Cuatro episodios de humorismo místico. Entre unos cuantos
escritos publicados en el país y en el exterior cabe mencionar los textos redactados al borde
de la obra de José A. Restrepo: Proyecto “Tableaux mourants” (2004); Verme dormido – Jobs de
Benjamin, Derrida y Restrepo (2006); “Emails” en Ejercicios espirituales (2015). Vive en Pasto.

Carlos Andrés Méndez Sandoval (Cali, Colombia, 1978)

implica el tránsito de una concepción del poder desde el modelo de la guerra a una concepción
del poder en tanto gubernamentalidad. Vive en Cali.

Gabriela Pinilla (Bogotá, Colombia, 1983)

hace una maestría en Artes Plásticas y Visuales en la Universidad Nacional (Bogotá). Entre sus
exposiciones individuales están El ramo de olivo que no germinó
2015); La venganza de la historia 3: Barrio Policarpa Los búhos
no son lo que parecen, Sala Alterna, Galería Santa Fe (Bogotá, 2010), e Historia sencilla, Galería
12:00 (Bogotá, 2010). Ha recibido reconocimientos como la Beca de Creación en Artes Visuales del
Ministerio de Cultura (2012) y el premio Exposiciones en la Galería Santa Fe, otorgado por Idartes

Equipo TransHisTor(ia)

Colombia, 1979) en 2008, TransHisTor(ia) desarrolla proyectos de investigación, curatoriales y

de creación en torno a problemas de la historia del arte y la cultura visual en Colombia. Entre
sus investigaciones y curadurías están Múltiples y Originales. Arte y cultura visual en Colombia;
años 70, FUGA (Bogotá, 2010);
FUGA (Bogotá, 2012), MAMM (Medellín, 2013) y Museo La Tertulia (Cali, 2014); Con Wilson… dos
décadas vulnerables, locales y visuales, Galería Santa Fe (Bogotá, 2014), y Sal Vigua, Cámara de

la Facultad de Artes de la ASAB. Viven en Bogotá. transhistoria.laveneno.org

Rat Trap
Rat Trap es una plataforma de producción de arte no institucional y música no corporativa.
Sus integrantes son José Darcy Cabrera (Puerto Asís, Colombia, 1979), Paola Acebedo (Bogotá,

Actualmente el proyecto incluye dos talleres de serigraf ía, un estudio de grabación, dos salas
de ensayo, trece talleres de artistas, una sala de proyectos y una tienda. Su objetivo princi-
pal es defender la autonomía creativa y promover la sostenibilidad económica de proyectos
artísticos, sociales y culturales, ofreciendo herramientas y espacios para el desarrollo de
Bruno Mazzoldi (Milan, Italy, 1942) A resident of Colombia since 1960, he has taught at the Escuela
Normal para Varones [Boys’ School], Fonseca, Lower Guajira; the Junín High School on the island
of Providencia; Cauca University and Nariño University. At the beginning of the 1970’s he was the
nd
Congress for the
Study for Altered States of Awareness, held in Lérida, Spain, he exhibited the last of some graphic
commentaries he made, entitled Four episodes of mystical humourism. Among a variety of his
essays, two are worth mentioning: his analysis of the work of José A. Restrepo: Proyecto “Tableaux
mourants” (2004); Verme dormido – Jobs de Benjamin, Derrida y Restrepo [To see me asleep – the
Jobs of Benjamín, Derrida and Restrepo] (2006); and “Emails” en Ejercicios espirituales [Spiritual
Exercises] (2015). He lives in Pasto.

Carlos Andrés Méndez Sandoval (Cali, Colombia, 1978)

Has a Masters in Philosophy with a major in the History of Modern Philosophy, Aesthetics and
-
cal shifts implied by the transition from a conception of power to the model of war and thus to a
conception of governance. He lives in Cali.

Gabriela Pinilla (Bogotá, Colombia, 1983)

(Bogotá). Among her one woman shows are El ramo de olivo que no germinó [The Olive Branch that
La venganza de la historia 3: Barrio Policarpa [The
Los búhos no
son lo que parecen [Owls are not What They Seem], Sala Alterna, Galería Santa Fe (Bogotá, 2010),
and Historia sencilla [A Simple Story], Galería 12:00 (Bogotá, 2010). She has been awarded a creation
fellowship by the Ministry of Culture (2012) and an exhibit grant for the Galería Santa Fe, Idartes
(Bogotá, 2010). In her work, she uses painting, drawings, installations, publications and videos to

Equipo TransHisTor(ia) [TransHisTor(y) Team]

Colombia, 1979) in 2008, TransHisTor(ia) carries out investigative, curatorial and creative projects
about the history of the art and visual culture of Colombia. Among their research and curatorial proj-
ects are: Múltiples y Originales. Arte y cultura visual en Colombia; años 70, [Multiples and Originals.
Art and visual culture in Colombia; the 1970’s], FUGA (Bogotá, 2010); Rojo y más Rojo. Taller 4 Rojo:
[Red and more Red, Workshop 4 Rojo: graphic production and
direct action], FUGA (Bogotá, 2012), Medellín Museum of Modern Art (2013) and La Tertulia Museum
(Cali, 2014); Con Wilson... dos décadas vulnerables, locales y visuales [With Wilson... two vulner-
able, local and visual decades], Santa Fe Gallery (Bogotá, 2014); and Sal Vigua [Cormorant Salt],

Rat Trap
Rat Trap is a platform for the production of non-institutional art and non-corporate music. Their
members are José Darcy Cabrera (Puerto Asís, Colombia, 1979), Paola Acebedo (Bogotá, Colombia,

-
rent activities include two silk-screen workshops, a recording studio, two rehearsal halls, thirteen
artists’ workshops, an exhibit space and a store. Its main aim is to defend creative autonomy and
promote the economic sustainability of artistic, social and cultural projects by offering tools and

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libro. Viven en Bogotá.

Salvaje

del espacio NADA, Salvaje explora las posibilidades de la publicación no solo como objeto

en los aeropuertos”. Han publicado Fe y alegría, de Leonardo Herrera; La arcilla fundamental,

de Gabriel Mejía; el DVD Release me!, de Juan Mejía y, dentro del 44 SNA, 5-5, de Nicolás Llano.

Seminario Psicotropismos
Brigitte Baptiste (Bogotá, Colombia, 1963)
Bióloga de la Universidad Javeriana y una de las mayores expertas en temas ambientales y

la Universidad Internacional de Florida becada por la Comisión Fulbright, y un doctorado en

Economía ecológica y manejo de recursos naturales en la Universidad Autónoma de Barcelona.
Actualmente dirige el Instituto de Investigación de Recursos Biológicos Alexander von Humboldt
y representa a Colombia ante varios organismos internacionales ambientales. Vive en Bogotá.

Rafael Castellanos Jiménez (Bogotá, Colombia, 1975)

parte de la creación de Bogotrax (festival gratuito y experimento socio-cultural; 2003-2013).

alrededor de la relación entre la selva y la ciudad, la vida en el barrio y el territorio, entre

ellos Bajo el concreto la selva, Galería Neurotitan (Berlín, 2014), exposición de muralistas
contemporáneos suramericanos y el videoclip S.O.S
grupo de hip-hop bogotano A la intemperie. Actualmente tiene un trabajo en curso sobre

del viaje como experiencia irrevocable de la otredad. Vive en Berlín.

Sanfor Kwinter (Canadá)

editorial Zone Books. Ha enseñado en universidades como Rice, MIT, Columbia, Cornell y Harvard,

en libros como Architectures of Time: Toward a Theory of the Event in Modernist Culture
2001); (Actar Press, 2008), y Requiem:
For the City at the End of the Millennium
Canada Arts Council y del Getty Center for the History of Art and the Humanities. También recibió
venues for the development of self-managed and cost-effective productions which allow for the
viability over time of practices which have traditionally depended on State incentives and private

th
National Salon of Artists. Its members live in Bogotá.

Salvaje

branch of the independent space NADA, Salvaje explores the possibilities of publishing not
only as producer of art-objects but as a catalyst of relationships, collaborations and possible
encounters. In their projects they seek to strengthen the book’s possibilities as a container

portable in small bags without being detected because, as they point out, “there are no anti-
book dogs in airports.” They have published Fe y alegría [Faith and Happiness], by Leonardo
Herrera; La arcilla fundamental [The Fundamental Clay], by Gabriel Mejía; the DVD Release me!,
by Juan Mejía, and, as part of the 44th SNA, 5-5, by Nicolás Llano.

Psychotropisms Seminar
Brigitte Baptiste (Bogotá, Colombia, 1963)
A biologist from Javeriana University (Bogotá), she is one of the leading experts in Colombia in the

MSc in Conservation and Tropical Conservation at Florida International University and has a PhD
in Ecological Economy and the Management of Natural Resources from the Autonomous Univer-
sity of Barcelona. She is currently the director of the Alexander von Humboldt Institute for the
Investigation of Biological Resources and has represented Colombia at a variety of international

Rafael Castellanos Jiménez (Bogotá, Colombia, 1975)

He has a PhD in History of Philosophy from Paris University IV, the Sorbonne. Working between
Berlin and Bogotá, he took part in the creation of Bogotrax (a free festival and socio-cultural
experiment; 2003-2013). He has undertaken artistic, cultural and educational projects focused on
Latin America, which revolve around the relation between the jungle and the city and between
neighborhood life and the territory, among them Bajo el concreto la selva [Under the concrete, the
jungle], Neurotitan Gallery (Berlin, 2014), an exhibition of contemporary South American muralists
and the videoclip S.O.S. (2013-2014), made in Manaus with a Bogotá hip-hop group, A la intemperie.
He is currently working on the poetics of hip-hop, the neighborhood, the jungle, the “war”, uprooting

Sanfor Kwinter (Canada)

A writer and theoretician of architecture with a PhD in Comparative Literature from Columbia
University, he is the co-founder, along with the designer Bruce May and the theoretician Jonathan

and is currently Professor of Architectural Theory and Criticism at the Pratt Institute (New York).
He has published a wide range of books on the philosophical aspects of design, architecture and
urbanism, such as Architectures of Time: Toward a Theory of the Event in Modernist Culture (MIT
Press, 2001); Far from Equilibrium: Essays on Technology and Design Culture (Actar Press, 2008),
and Requiem: For the City at the End of the Millennium (Actar Press, 2010). He has received awards
from the Canada Arts Council, the Getty Center for the History of Arts and Humanities and the

362 / 363
Florencia Portocarrero (Lima, Perú, 1981)
Investigadora, curadora independiente y psicoterapeuta. Estudió Psicología Clínica en la

Teóricos en Psicoanálisis. Durante 2012/2013 participó en el programa curatorial de ‘de Appel Arts
Centre’ (Ámsterdam) y recientemente se graduó con honores de la maestría en Teoría del Arte
Contemporáneo, Universidad de Goldsmiths (Londres). Portocarrero escribe regularmente en
la revista internacional de arte contemporáneo Artishock y ha contribuido con sus textos sobre
arte y cultura en numerosos catálogos y publicaciones. En Lima fue cofundadora del espacio
de arte independiente Bisagra y curadora del programa público de Proyecto AMIL. Vive en Lima.

John Welchman (1958)

Profesor de historia del arte en la Universidad de California, San Diego. Ha escrito para medios
como Art Forum, The New York Times y The Economist. Es autor de los libros Modernism
Relocated: Towards a Cultural Studies of Visual Modernity (Allen & Unwin, 1995), Invisible
Colours: A Visual History of Titles (Yale UP, 1997), Art After Appropriation: Essays on Art in the

Press, 2015). Además de numerosas publicaciones académicas, ha editado varios volúmenes

de escritos y entrevistas del artista Mike Kelley. Vive en San Diego.

Equipo curatorial

Rosa Ángel
Directora artística

digitales interactivas de la Universidad Complutense, Madrid, y candidata a doctor en artes de

la Universidad de Castilla la Mancha, Cuenca.
Formada como artista y con una experiencia diversa en áreas como los audiovisuales y la gestión
cultural, ha sido co-curadora, con Adriana Arenas, del 12 salón Regional de Artistas Zona Centro
Occidente eje[s] imaginario[s] (2007) y tutora y miembro del comité regional de la investigación
curatorial de los 13 Salones Regionales de Artistas (2009).
Desde 2006, ha sido la curadora del Museo de Arte de Pereira en varios periodos, concentrándose

exposiciones se encuentran la colectiva Río arriba, río abajo (2013) y las individuales Estudios
comparados de paisaje, de Alberto Baraya (2015) y Siguiendo el río, de Natalia Castañeda (2016).
Vive y trabaja en Pereira.

CURADORES

Victor Albarracín
Escritor, curador y artista visual. MFA en prácticas públicas del Otis College of Art and Design, Los
Ángeles. Entre 2005 y 2009 fue coordinador del Consejo curatorial de la Fundación El Bodegón (arte
contemporáneo – vida social). En 2014 fue co-fundador de Selecto–Planta Baja, Los Ángeles, CA.,

publicaciones culturales en Colombia y el exterior. Ha escrito tres libros publicados en Colombia,

Noruega y los Estados Unidos. Profesor, consultor de proyectos y jurado de distintas facultades
universitarias de arte y director de talleres y tutor de los laboratorios de investigación de creación
del Ministerio de Cultura. Ganó el Premio nacional de crítica en 2009 y la beca Fulbright- Ministerio
de Cultura Ministry 2012. Actualmente es el director artístico de Lugar a Dudas, en Cali.
Florencia Portocarrero (Lima, Peru, 1981)
An investigator, independent curator and psychotherapist, she studied Clinical Psychology at

in Psychoanalysis. During 2012-2013, she participated in the curatorial program of the Appel Arts
Centre (Amsterdam) and she recently graduated with honors from a MA in Theory of Contemporary
Art from Goldsmiths University (London). Portocarrero periodically writes for the international
Artishock, and has published her essays on art and culture in
many catalogues and publications. In Lima, she was the co-founder of the independent art venue,
Bisagra, and curator of the public program of the AMIL project. She lives in Lima.

John Welchman (1958)

Professor of art history in the Visual Arts department at the University of California, San Diego. He
has contributed to publications like Screen, Art Forum, The New York Times and The Economist.
His books include Modernism Relocated: Towards a Cultural Studies of Visual Modernity (Allen &
Unwin, 1995), Invisible Colours: A Visual History of Titles (Yale UP, 1997), Art After Appropriation:

Contemporary Art (Sternberg Press, 2015). He has edited a number of academic publications
and several volumes of interviews and writings by the artist Mike Kelley. He lives in San Diego.

Curatorial Team

Rosa Ángel
Artistic Direction

Technologies from Complutense University, Madrid; Ph.D courses in Arts from the University of
Castilla la Mancha, Cuenca.
With experience in different areas, including audiovisuals and cultural governance, Angel co-cu-
rated, with Adriana Arenas, the 12th Regional Salon of Artists in the Western-Central Region
(2007), and served as tutor for the curatorial team of the 13th Regional Salon of Artists and as
a member of its regional committee (2009).
Since 2006, she has been at different periods head curator of the Pereira Art Museum, focu-
sing since 2012 in exhibits that explore, from different angles, the richness and possibilities of
landscape and the notion of territory. These exhibits include the group show Upriver, downriver
(2013) and the individual shows Comparative Studies of Landscape, by Alberto Baraya (2015), and
Following the River, by Natalia Castañeda (2016). She lives in Pereira.

CURATORS

Victor Albarracín
Writer, curator and visual artist. MFA in Public Practice from Otis College of Art and Design, Los
Angeles. From 2005 to 2009, programmed activities at El Bodegón: Contemporary Art and Social
Life, in Bogotá. In 2014, he joined the curatorial team at Selecto-Planta Baja in Los Angeles, CA.
Headed independent curatorial projects in Bogotá and Los Angeles since 2010. He has been a
columnist, editor, critic and translator for various cultural publications in Colombia and abroad.
Author of three books published in Colombia, Norway and the United States. Teacher, project
consultant, and juror for art faculties in several Colombian universities, and workshop director
and tutor for the Ministry of Culture’s Creation-Research Laboratories. Artist with numerous
exhibitions in Colombia and abroad. National Critics Award in 2009 and Fulbright-Ministry of
Culture Fellowship in 2012. Currently he is the Artistic Director of Lugar a Dudas, in Cali.

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Inti Guerrero

Universidad de Los Andes en Colombia y en la Universidade de Sao Paulo en Brasil, y completó

el Programa Curatorial de Appel en Holanda. Entre 2011 y 2014 fue director artístico asociado
y curador de TEOR/éTica, un espacio para el arte y pensamiento fundado en 1999 en San José,
Costa Rica. Sus curadurías han sido exhibidas en museos y centros del arte alrededor del mundo
incluyendo: Tate Modern, Londres; Museo de Arte Moderno de São Paulo; Minsheng Museum,
Shanghai; Museo Carrillo Gil, Ciudad de México; Fundación Kadist, San Francisco; Museo de Arte

Río de Janeiro. Sus textos han sido publicados en libros, catálogos y revistas incluyendo Afterall,
Ramona, The Exhibitionist, ArtNexus, Manifesta Journal y

Guillermo Vanegas
Psicólogo de la Universidad Nacional de Colombia, con estudios en Maestría de Estudios Culturales

los XIII Salones Regionales de Artistas para el Ministerio de Cultura en 2009. Se desempeña como
profesor universitario desde 2007. Ha recibido varias menciones por sus escritos sobre arte y

profesor universitario. Sus escritos se publican regularmente en medios de Colombia y España.

Vive en Bogotá.

Curadores Invitados

Pamela Desjardins (Tucumán, Argentina, 1982)

Autónoma de Barcelona y el Programa de Estudios Independientes (PEI) en el Museo de Arte

Contemporáneo de Barcelona. Desde el 2014 hasta la actualidad es curadora en residencia (Beca
Lily Scarpetta) en FLORA ars+natura, en donde ha producido exposiciones de artistas como Doris
Salcedo, Carlos Garaicoa, Lucia Koch, Antonio Caro, Raúl Zurita y Patrick Hamilton, entre otros. Le
interesa principalmente el cruce entre prácticas artísticas y curatoriales. Obtuvo la beca Résidence

un proyecto en Founderie Darling (Montreal,2013). Colaboró como curadora en la selección de

artistas latinoamericanos para el No 3 de la revista sobre dibujo HB (2013). Fue ganadora del Travel
Grant otorgado por Getty Foundation para asistir a la Conferencia Anual del CIMAM (International
Committee for Museums and Collections of Modern Art) en Doha, Qatar, (2014) y participó represen-

por Mondriaan Found (Amsterdam, 2015). Vive en Bogotá .

Ximena Gama Chirolla (Bogotá, Colombia, 1982)

Filósofa de la Universidad Nacional de Colombia y Especialista en Historia y Teoría del Arte
Moderno y Contemporáneo de la Universidad de los Andes. Ha colaborado en distintos proyectos
de investigación en arte latinoamericano en Estados Unidos y Colombia. Trabajó en el Museum
of Fine Arts en Houston (MFAH) y en el centro de investigación ICAA (International Center of The
Arts of the Americas), Sicardi Gallery (Houston) y Cecilia de Torres L.T.D (Nueva York). Centra su
trabajo como curadora en las prácticas contemporáneas latinoamericanas. Fue curadora del
Luis Roldán: Periplo, una retrospectiva (Museo de
Inti Guerrero
Colombian critic and curator based in Hong Kong. Studied History and Art and Architecture

completed the Appel Curatorial Program in Holland. Associate Artistic Director and curator of
TEOR/éTica from 2011 to 2014, a space for art and thought founded in 1999 in San Jose, Costa
Rica. Has curated shows in art museums and centers around the world, including the Tate
Modern (London), the São Paulo Museum of Modern Art, the Minsheng Museum in Shanghai, the
Carrillo Gil Museum in Mexico City, the Kadist Foundation in San Francisco, the Vigo Museum of

Afterall, Ramona,
The Exhibitionist, ArtNexus, Manifesta Journal and .

Guillermo Vanegas
Writer and curator with an MA in History of Art, Architecture and the City from the National
University of Colombia, Bogotá. In 2010, Vanegas founded Reemplaz0 as a platform for his writing
on contemporary art and for curatorial projects that have included contemporary and historical
exhibitions. In 2009, he curated Preámbulo, the 13th Regional Artists’ Salon for the Colombian
(Central Zone). In 2015 he received a grant from the Colombian Ministry of Culture to write a

Bogotá. He is a regular contributor to online and printed periodicals in Colombia and Spain.
He lives in Bogotá.

Guest Curators

Pamela Desjardins (Tucumán, Argentina, 1982)

She has a MA in Theory and Aesthetics of Contemporary Art from the Autonomous University of
Barcelona, and participated in the Program of Independent Studies at the Barcelona Museum of
Contemporary Art. From 2014, she has been the curator in residence (on a Lily Scarpetta Fellow-
ship) at FLORA ars+natura, where she has mounted the exhibitions of artists like Doris Salcedo,
Carlos Garaicoa, Lucia Koch, Antonio Caro, Raúl Zurita and Patrick Hamilton, among others. She is
interested in the intersection between artistic and curatorial practices. She won the Résidence

at the Founderie Darling (Montreal, 2013). She collaborated as a curator in the selection of Latin

the Getty Foundation to attend the annual conference of the International Committee for Muse-
ums and Collections of Modern Art in Doha, Qatar, (2014) and was the representative of Colombia

(Amsterdam, 2015). She lives in Bogotá.

Ximena Gama Chirolla (Bogotá, Colombia, 1982)

and Theory of Modern and Contemporary Art from Los Andes University (Bogotá). She has collabo-
rated in different research projects in the United States and Colombia centered in Latin American
Art. She worked at the Houston Museum of Fine Arts (MFAH) and the International Center of the
Arts of the Americas research center, the Sicardi Gallery and Cecilia de Torres L.T.D. (New York). Her
work as a curator is focused on contemporary practices of Latin American art. She was the curator
of the Espacio Odeón in Bogotá and co-curator in 2016 of the exhibition Luis Roldán: Periplo, una
retrospectiva [Luis Roldán: Journey, a retrospective], (Art Museum of Central Bank of Colombia).

366 / 367
en el Seminario Intensivo de Curaduría impartido por el ICI (Independent Curators International
NYC) ICI e idartes. Durante ese mismo año obtuvo la Beca de docencia de la Facultad de Ciencias
Sociales de la Universidad de los Andes de Bogotá y la Mención de Honor en el Premio Nacional

la maestría en Estudios Culturales en la Universidad de los Andes y trabaja como curadora

independiente. Vive en Bogotá

La Usurpadora
María Isabel Rueda (Cartagena, Colombia, 1972) es Maestra en Artes Plásticas en la Universidad

aportes en el campo de las artes no han sido estudiados a profundidad o resultan desconocidos

Warren Neidich (Nueva York, EE. UU., 1958)

recibido premios como el Vilém Flusser Theory Award, Transmediale (Berlín, 2010); beca Fulbright
(2011 y 2013) y la AHRB/ACE Arts and Science Research Fellowship (Reino Unido, 2004). Entre sus
exposiciones individuales están Sacred Spaces of the Incorrigible Anarchy of Time, Barbara Seiler
Gallery (Zúrich, 2016); Equal not Equal, LAXART (Los Ángeles, 2015);The Noologist’s Handbook, P74
The
Psychopathologies of Cognitive Capitalism Part 3 (Archive Press) y Resistance is Fertile (Merve
Verlag) se editarán este año. Vive en Los Ángeles y Berlín.

Helena Producciones
-

Andrés Sandoval y Gustavo Racines. Su trabajo ha sido incluido en: CAC (Quito,
2015); Six Lines of Flight: Shifting Geographies in Contemporary Art, SFMOMA (2012); Living as
Form, Creative Time (Nueva York, 2011); Cali en el espejo, Or Gallery (Vancouver, 2007); To be
Political it has to Look Nice, Apexart (Nueva York, 2003); De la representation a l’action, Le
Plateau (París, 2002).
In 2015 she won a travel grant from the Getty Foundation to attend the annual conference of the
Cimam in Tokyo, Japan and in 2013 a Fellowship to participate in an intensive seminar on curator-
ship at the Independent Curators International NYC, with the help of Idartes. In the same year,
she obtained a Teaching Fellowship at the Social Sciences Faculty of Los Andes University, Bogotá

and works as an independent curator. She lives in Bogotá.

La Usurpadora [The Usurper]

María Isabel Rueda (Cartagena, Colombia, 1972) has a BFA and MFA from National University of

art. They live in Puerto Colombia.

Warren Neidich (New York, U.S., 1958)

Founder of the Saas Fee Summer Institute of Art and post-conceptual artist, his interests include
photography, video, cognitive neuroscience, medicine and architecture. He has received awards
like the Vilém Flusser Theory Award, Transmediale (Berlin, 2010); a Fulbright Fellowship (2011 and
2013) and the AHRB/ACE Arts and Science Research Fellowship (United Kingdom, 2004). Among
his individual exhibitions are: Sacred Spaces of the Incorrigible Anarchy of Time, Barbara Seiler
Gallery (Zurich, 2016); Equal not Equal, LAXART (Los Angeles, 2015); The Noologist’s Handbook, Gal-
lery (Ljubljana, 2012), and Horizon Swell, Fons Welters Gallery (Amsterdam, 2011). His books The
Psychopathologies of Cognitive Capitalism Part 3 (Archive Press) and Resistance is Fertile (Merve
Verlag) will be published this year. He lives in Los Angeles and Berlin.

Helena Producciones
An artist collective which investigates subjects related to artistic production and its conditions

Gustavo Racines. Its work has been included in [Peaceful Body], CAC (Quito, 2015);
Six Lines of Flight: Shifting Geographies in Contemporary Art, San Francisco Museum of Modern
Art (2012); Living as Form, Creative Time (New York, 2011); Cali en el espejo [Cali in the mirror], Or
Gallery (Vancouver, 2007); To be Political it has to Look Nice, Apexart (New York, 2003); and De la
representation a l’action, Le Plateau (Paris, 2002).

368 / 369
Aún
44 Salón Nacional de Artistas
Pereira, septiembre 16 a
noviembre 14, 2016

Juan Manuel Santos Calderón

Presidente de la República
President of Colombia

Mariana Garcés Córdoba

Ministra de Cultura
Minister of Culture

Zulia Mena García

Viceministra de Cultura
Vice-Minister of Culture

Secretario general
General Secretary

Directora de Artes
Arts Director

Carolina Ponce de León Nieto

Asesora de Artes Visuales
Visual Arts Advisor

Miguel José Rujana Acosta

Olga Lucía Otero García
Dirección de Artes
Arts Department

María Victoria Benedetti Naar

Diana Andrea Camacho Salgado

Juan Sebastián Suanca Sierra

Grupo de Artes Visuales
Visual Arts Group

370 / 371
Juan David Padilla Vega Secretario general
Isabel Cristina Salas General Secretary

Press and Communications Group

Juan Pablo Gallo Maya

Alcalde de Pereira Administrative and Financial Vice-President
Mayor of Pereira
Carolina Henao Villegas

Directora general del Instituto Administrative Coordination

General Director of the Municipal Institute of María Victoria Buitrago Cataño

Culture and Tourism Development

Diana Vega Baltán

Inés Patricia Zorro Arellano Pereira Chamber of Commerce
Instituto Municipal de Cultura
Equipo de trabajo 44 SNA
City Institute of Culture and Tourism 44th SNA Team

Rosa Ángel Arenas

Gobernador de Risaralda Dirección artística
Governor of Risaralda Artistic Director

Víctor Albarracín Llanos

Secretaria de Deporte, Recreación Inti Guerrero Oliveros

Risaralda Secretary for Sport, Recreation Equipo curatorial

and Culture Curatorial Team

Mauricio Vega Lemus

de Comercio de Pereira Museography and Exhibition Design

Executive President, Pereira Chamber of
Commerce Juanita Torres Barrera

Germán Calle Zuluaga Laura Puerta Barco

Asistentes de curaduría
Comercio de Pereira Curatorial Assistants
Board President, Pereira Chamber of
Commerce

Ana María Cuartas Saldarriaga Institucionales

Director of Management and Institutional
Competitivity Vice-president Relations
Luis Felipe Ospina Galeano Francisco Antonio Durango Sepúlveda

Relaciones Institucionales Julio Echeverri

Management and Institutional Relations
Assistant
John Fredy Galvis
Adriana María Pineda Estrada Óscar Gil
Directora de Producción
Production Director Sebastián Henao

John Fredy Quiceno (Open Studios)

Exhibit Producer Vicente Montejo

Yuli Murillo

Diego Herreño Múnera

Juan David Marín Múnera Zoila Porras
Asistentes de Producción Manuela Quiceno
Production Assistants Santiago Pastrana

Nelly Peñaranda Daniel Restrepo

Sebastián Angulo Carlos Roa
Fundación Arteria Robinson Sierra

Production Support Jaime Tobón

Néstor Vargas
Equipo de montaje
Records and Conservation Exhibition Display Assistants

Yuliana Quiceno Cardona Margarita Pineda

Julián Urrego Gil
Asesora de Registro
Records Advisor Education Program Coordinators 2015

Melissa Aguilar Restrepo

Carlos Betancourt

Conservation Advisor Juan Guillermo Bustamante Cardona

Andrés Cabrera Higuita
Julián Carvajal Arias
Pablo Felipe Arenas Jaime Cerón
Guillermo Céspedes Rubio
Harvin Corena Argota
Bernardo Cano (Universidad Tecnológica de Pereira)
Ferran ElOtro
Jaime Cardona David Escobar Parra
Santiago Cardona Juan Fernando Herrán
Julián Carvajal Arias
Julián Céspedes Juan Martín Camargo

372 / 373
Andrés Marulanda
Carlos J. Matus
Javier Mejía Bacca
Nelly Peñaranda
Yuliana Quiceno Cardona
Germán Roldán Lopera
Santiago Rubio
Isabel Seguro
Diana Shool Montoya
José Andrés Uruburo
Rodrigo Vega
Education Workshops 2015
J transformación del ahora
Education Program Coordinator
Mariana Giraldo Cortés
Education Program Assistant
Alejandro Quintero Garcés
Event Coordinator
Coordinación editorial
Editorial Coordinator
Giampaolo Bianchi (English)
Corrección de estilo
Copy editors
Jimmy Weiskopf
Max Schnuer
Translation
David Escobar Parra
Sebastián Restrepo Guerrero
Luis Guillermo Palacios
Photographic and Video Record
o
Graphic Design and Visual Identity
Articulados
Comunicaciones
Communications
Pickles PR
Prensa internacional
International Press
Seminario Psicotropismos. Drogas,
espectros y alucinaciones para la
Psychotropisms Seminar: drugs, spectres
and hallucinations for a transformation of
the present
Brigitte Baptiste
Rafael Castellanos
José Antonio Covo
Juan Nicolás Donoso
Sanfor Kwinter
Florencia Portocarrero
John Welchman
Conferencistas
Speakers
ESCUELA DE MEDIADORES
School of Mediators
Edwin Jimeno
Trainer
Ana María Arango Arango
Edward Bustamante
Sebastián Cabello García
Melissa Isabel Herrera Monsalve
José Gabriel Marín Echeverri
Daniel Montoya
Laura Osorio Camperos
Santiago Ossa Arango
Adrián Felipe Parra Mesa
Manuela Quiceno
Daniel Restrepo Trejos
Jeison Ríos
Jenny Toro Salas

Milena Villegas Aguirre

Ana María Zuleta Garcés
Wilson Mario Zuluaga Arboleda
Mediadores
Mediators

Centro Colombo Americano

Museo de Arte de Pereira

Salón Comunal – Barrio Zea
Universidad Tecnológica de Pereira
Sedes
Venues

ISBN: 978-958-753-245-6

Panamericana, 2016
Impresión
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374 / 375
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